Dalrymple claimed that the new round of atheists, (or at least some of the current spokesmen of popular atheism) are glossing over the deep metaphysical questions surrounding the existence of God.
Some atheists seem to be in danger of becoming adherents rather than free thinkers, or being in for a surprise when many adherents appear.
Addition: More on Roger Sandall’s blog here, as he discusses Roger Scruton.
One question seems to be whether we choose to give religious arguments any quarter at all. The hard atheist line seems to be no. Mine is…perhaps…
As found on the Youtubes, a Dalrymple piece read with a Scottish accent:
‘Another of my very favourite TD essays, this one compares two 19th Century thinkers – Karl Marx and Ivan Turgenev. I believe that the observations, the wisdom, and the thorough takedown of Marx as a human being, are of great value.‘
~30 minutes. I think that bit about the dog actually made me tear-up.
‘Scientism has remained to this day on of the strongest Gnostic movements in Western society; and the immanentist pride in science is so strong that even the special sciences have each left a distinguishable sediment in the variants of salvation through physics, economics, sociology, biology, and psychology.’
‘I Am Charlotte Simmons’ is an indictment of the primary centers of higher education in America today. These institutions do not well serve the real longings and earnest ambitions of the young people who flock to them, at great cost and with great expectations, year after year. Instead of pointing students to a world that is higher than where they came from, the university reinforces and expands the nihilism and political correctness that they are taught in public schools, imbibe from popular culture, and bring with them as routine common sense when they arrive on campus. Of course, these two ideologies are largely incompatible: nihilism celebrates strength (or apathy) without illusion; political correctness promulgates illusions in the name of sensitivity. But both ideologies are the result of collapsing and rejecting any distinction between higher and lower, between nobility and ignobility, between the higher learning and the flight from reason.’
If you don’t have enough empathy, maybe it’s time for a brain-scan, a postmodern dance routine exploring the body in space, or a peace corps mission…
Everybody’s done fightin’ over yer soul….
‘Here our account of the disposition to be conservative and its current fortunes might be expected to end, with the man in whom this disposition is strong, last seen swimming against the tide, disregarded not because what he has to say is necessarily false but because it has become irrelevant; outmanoeuvred, not on account of any intrinsic demerit but merely by the flow of circumstance; a faded, timid, nostalgic character, provoking pity as an outcast and contempt as a reactionary. Nevertheless, I think there is something more to be said. Even in these circumstances, when a conservative disposition in respect of things in general is unmistakably at a discount, there are occasions when this disposition remains not only appropriate, but supremely so; and there are connections in which we are unavoidably disposed in a conservative direction.’
Oakeshott, Michael. Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print.
Art history department chair and the course’s instructor Tim Barringer told the News that he plans to demonstrate that a class about the history of art does not just mean Western art. Rather, when there are so many other regions, genres and traditions — all “equally deserving of study” — putting European art on a pedestal is “problematic,” he said.’
Some people are trying to erode common sense until it becomes less common:
‘The horrors and atrocities of history have been edited out of primary and secondary education except where they can be blamed on racism, sexism, and imperialism — toxins embedded in oppressive outside structures that must be smashed and remade. But the real problem resides in human nature, which religion as well as great art sees as eternally torn by a war between the forces of darkness and light.’
Christopher Hitchens (nearly a free speech absolutist, railing against many of his former friends on the Left) discussing the Yale Press, which was genuinely afraid that publishing this book could lead to violence in the Muslim street:
“…Yale had consulted a range of experts before making its decision and that “[a]ll confirmed that the republication of the cartoons by the Yale University Press ran a serious risk of instigating violence.”
‘The fact is, even the sternest ascetic tends to be slightly inconsistent in his condemnation of pleasure. He may sentence you to a life of hard labour, inadequate sleep, and general discomfort, but he’ll also tell you to do your best to ease the pains and privations of others. He’ll regard all such attempts to improve the human situation as laudable acts of humanity – for obviously nothing could be more humane, or more natural for a human being, than to relieve other people’s sufferings, put an end to their miseries, and restore their joie de vivre, that is, their capacity for pleasure. So, why shouldn’t it be equally natural to do the same thing for oneself?’
More, Thomas. Utopia. Penguin (trans. Paul Turner), 1965. Print.
“His problem (Plato’s) with the arts was that they operated by images rather than by ideas, and thus that they might cloud the truth rather than clarifying it.”
Yes, and religious traditions, for example, also have interpretations of how one ought to reproduce the image.
“Whatever one thinks of Plato’s solution to this problem, I suggest that this is one of the problems that elicited his proposals for severe censorship of the arts he so obviously loved and had been trained in.”
James Delingpole and Carbon Mike have a discussion about what bottom-up networks can do, the importance of economic and political liberty, the erosion of common sense, and how the software tools are available to bypass the bigger players.
There is a lot of room for disruption online, outside of the old media dinosaurs, and the new media walled-gardens:
If you’ve made your way to this blog, welcome to the cutting edge (or not).
The confessional poets wove inner revelations into the architecture of their poems, and made themselves into active subjects.
A generation or two later, and they seem to have more prizes than poets. From cartoons to comedians, many Selves are seeking hidden meanings behind every word.
See Also On This Site: Philosopher Of Art Denis Dutton of the Arts & Letters Daily says the arts and Darwin can be sucessfully synthesized: Review of Denis Dutton’s ‘The Art Instinct’
Twirling your blue skirts, travelling the sward Under the towers of your seminary, Go listen to your teachers old and contrary Without believing a word.
Tie the white fillets then about your hair And think no more of what will come to pass Than bluebirds that go walking on the grass And chattering on the air.
Practice your beauty, blue girls, before it fail; And I will cry with my loud lips and publish Beauty which all our power shall never establish, It is so frail.
For I could tell you a story which is true; I know a woman with a terrible tongue, Blear eyes fallen from blue, All her perfections tarnished — yet it is not long Since she was lovelier than any of you.
My major reason for critiquing high liberalism: Although modern, secular institutions aren’t churches and don’t make faith-based knowledge claims to truth and knowledge, these institutions (faculties, bureaucracies, administrations) aren’t necessarily safe in the hands of even the most wise and good. Rationalists, practioners of science and scientism, as well liberal idealists cultivating radicals aren’t always what they’re cracked up to be.
Postmodernism has profoundly anti-scientific, anti-free thinking elements within itself, and using radical ideologues as drivers of change subjects high liberals to the demands of radicals, merely later on.
Change is a constant, from within and without. Idealism can blind one to the tragic depths of human nature, and problems of action in the world, just as the casual abandonment of deeply conservative truths can lead to unexpected dangers.
‘The most useful definition of modernist fiction I’ve encountered comes from Brian McHale’s Postmodernist Fiction. He says modernist fiction tends to “foreground epistemological questions” such as “How can I interpret the world I’m part of? What is there to be known? Who knows it? What are the limits of that knowledge?” In contrast, postmodernist fiction tends to “foreground ontological questions” such as “What is a world? What kinds of worlds are there and how are they constituted? What happens when…boundaries between worlds are violated?’
As to the epistemological questions surrounding Modernism, below are four poems. Hopefully, each is a representative example of a move away from the Romanticism that had been prevalent up until the late 1800’s.
In addition to the move away from traditional Romantic rhyme and meter towards modern blank verse, there’s also a certain conception of the Self rendered in them; a presentation of our natures that might be worth examining in some detail.
I believe we can see clearly a move away from tradition towards the Self, the Poet isolated, the poem itself as a means of communication, and an anxiety so common within the 20th century.
‘At the heart of Bloom’s project is the ancient quarrel between “poetry” and “philosophy.” In Bloom’s opinion, we ought not have to choose between Homer and Plato; we can have both, as long as we recognize that poetry is superior.’
Says the guy who writes about poetry…
What does one find within, as one looks without, waking from sleep and dream?
What kind of world is this, and can the poet actually help us know it?
You tossed a blanket from the bed
You lay upon your back, and waited;
You dozed, and watched the night revealing
The thousand sordid images
Of which your soul was constituted;
They flickered against the ceiling.
And when all the world came back
And the light crept up between the shutters
And you heard the sparrows in the gutters,
You had such a vision of the street
As the street hardly understands;
Sitting along the bed’s edge, where
You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
—
The world will stain you, and it is a fallen, modern world, rendered profoundly and exquisitely.
As consciousness creeps in, building a bridge to the day, to the world, to the facts left as though they were the first facts, the light as though it were the first light, what one finds is distressing, both within and without.
That distress must be ‘made new,’ which is to say, the suffering (original?) in which we all sometimes find ourselves must match our experiences within the modern city and world, at least, the world created within Eliot’s lyrical verse.
Of the four poems, only the first and last have a 3rd-person subject.
—
Wallace Stevens‘ ‘I’ is in a more contemplative state, but it’s an ‘I’ exploring similar themes, and experiencing some distress in trying to know how the world actually is, and what might lie within.
The journey to The Self may not be a journey for the faint of heart.
The Poems Of Our Climate (stanzas II and III)
II Say even that this complete simplicity Stripped one of all one’s torments, concealed The evilly compounded, vital I And made it fresh in a world of white, A world of clear water, brilliant-edged, Still one would want more, one would need more, More than a world of white and snowy scents.
III There would still remain the never-resting mind, So that one would want to escape, come back To what had been so long composed. The imperfect is our paradise. Note that, in this bitterness, delight, Since the imperfect is so hot in us, Lies in flawed words and stubborn sounds.
—
Even if the verse can describe a perfected world, delivering us, perhaps, a little closer to perfection, our poet is still not free from the impulses and desires which simply never cease.
Interestingly, we end-up not with a discussion of the heart, the spirit, libido etc. as a source for those desires (for Plato, the irrational), but rather, for Stevens, just a mind.
We also find more Romantic elements of language and an almost baroque/rococo arrangement of words and ideas, dandyish even, yet combined with an intense effort to abstract, define, and clarify. From here, the poet may proceed on his task of flawed words and stubborn sounds.
***I find myself thinking of elements of modern architecture and abstract-expressionist painting. The meaning, or at least some delivery from our restless existences, can be found within the abstract itself. Or at least within a retreat to the abstract for its own sake, away from the world.
The modernist, glass-walled house on the hill will exist in its own space, offering and defying meaning. The structure’s own shapes will be stripped down to often mathematically precise forms interacting with Nature. These shall guide Man, or at least offer individual men a little refuge.
It is perhaps in Stevens’ poem we can see the questions of knowledge about the world suggesting questions about whether there is a world at all, or, at least, what kind of worlds each Self might be able to inhabit.
—
Here’s one of Robert Lowell’s poems, occurring a generation later, in the mid 20th-century, as part of the confessionals.
The Self is extremely isolated. In fact, Lowell went more than a little crazy. Unlike the known nervous breakdown of Eliot from which Eliot recovered, Lowell’s life was essentially one long breakdown from which he never recovered.
Here he is, looking back:
Epilogue
Those blessed structures plot and rhyme- why are they no help to me now i want to make something imagined not recalled? I hear the noise of my own voice: The painter’s vision is not a lens it trembles to caress the light. But sometimes everything i write With the threadbare art of my eye seems a snapshot lurid rapid garish grouped heightened from life yet paralyzed by fact. All’s misalliance. Yet why not say what happened? Pray for the grace of accuracy Vermeer gave to the sun’s illumination stealing like the tide across a map to his girl solid with yearning. We are poor passing facts. warned by that to give each figure in the photograph his living name.
—
The weight of having to make that meaning, for yourself, and by yourself, is a horrible weight indeed. One can glorify one’s Self and family, but that, alas, only goes so far. Rhyme and form still carry one’s living name, as far as they do.
Of course, there’s still wonderful rhythm and form here (this is excellent verse), but blanker now, with a relentless focus on the ‘I.’ The poet is perhaps talking a little more to himself, and the poem keeps self-consciously calling attention to itself.
—
In fact, it reminded me of the poem below, by Robert Creeley, which was published a few years afterwards.
From this page:
‘Creeley was a leader in the generational shift that veered away from history and tradition as primary poetic sources and gave new prominence to the ongoing experiences of an individual’s life. Because of this emphasis, the major events of his life loom large in his literary work.’
There’s Nothing but the Self and the Eye seeking and making meaning, by itself within a void of emotionally compact and precise language (of course there’s still form and other things besides).
Can the poet fit inside the little abstract chapel of words he’s building for himself (let alone the world, tradition etc.)?
For all the talk about ‘space,’ there seems very little.
The Window
Position is where you put it, where it is, did you, for example, that
large tank there, silvered, with the white church along- side, lift
all that, to what purpose? How heavy the slow
world is with everything put in place. Some
man walks by, a car beside him on the dropped
road, a leaf of yellow color is going to
fall. It all drops into place. My
face is heavy with the sight. I can feel my eye breaking.
—
The distress is still there…but I’d argue that we are now a good distance away from the grandness of Eliot’s vision, his religiosity and virtuosity with form and meter at the dawn of Modernism. Very few people can/could do what Eliot did (addition: even if he can help us gain knowledge of our Selves or the world).
That said, it’s unclear there’s enough tradition and confidence to even undertake such a project, now, even as such talents come along. The state of things is more scattered. We’re in a very different place of selves and artists isolated, of anxiety and post-anxiety.
Aside from the very accomplished poets above, in terms of both knowledge (epistemology) and being (ontology), we often have writers feeling pressure to weigh-in on such questions without even being about to write that well; artists who can’t draw or paint that well, and frankly, quite a bit of bullshit besides.
So, where are we headed? Who’s ‘we’ exactly?
Predictions are hard, especially about the future.
As previously posted:
Why not just put a few algorithms to work in writing those artist statements?
‘In “Sea Change,” Graham becomes Prospero, casting spells by spelling out her thoughts to merge with ours, and with the voices of the elements. The result is a mingling of perceptions rather than a broadcasting of opinions. Instead of analysis, the poems encourage emotional involvement with the drastic changes overwhelming us, overwhelm- ing the planet.’
and:
‘Strengths and weaknesses, flows and ebbs, yet every poem in “Sea Change” bears memorable lines, with almost haunting (if we truly have but 10 years to “fix” global warming) images of flora and fauna under siege. Jorie Graham has composed a swan song for Earth.’
Oh boy.
What are these poems being asked to do?
And moving away from poetry into the realm of ‘performance art,’
“You can’t be a successful dictator and design women’s underwear. One or the other. Not both.”
—————–
If you have an hour or so, and you want to read one of the funnier short stories ever written, I recommend Uncle Fred Flits By, by Wodehouse.
I could not find it for free, but you can check out the first few pages at the above link.
Also, this piece discusses some of Wodehouse’s darker characters. There’s a polished musicality and a keen ear that leads to superb comic timing and great depth. It’s farcical and moves along nicely, but also a provides a look at a whole society and generation through the goings-on of a lovable fop.
You don’t have to be Anglo, nor an Anglophile, to appreciate such writing I don’t think.
What a ghastly Youtube still:
***I got nuttin’ these days but reposts. This blog doesn’t pay!
This one’s stuck with me over the last few months:
‘They are, in fact, idealists: and idealism is a cast of mind that Conrad questions even more than he questions radicalism. The logical end of radicalism, in his view, is terrorism; but idealism is the mental aberration that allows terrorism to be brought about. Conrad’s originality was to see that a new tyranny could be generated by people who thought that their rebellion against the old tyranny was rational. Thus his writings seem prescient about what was to happen in the Soviet Union. He didn’t predict the Nazi tyranny because he had underestimated the power of the irrational to organise itself into a state. But then, nobody predicted that except its perpetrators; and anyway, mere prediction was not his business. His business was the psychological analysis made possible by an acute historical awareness. Under Western Eyes is valuable not because it came true but because it rang true even at the time, only now we can better hear the deep, sad note.’
‘It is true that the theory of the meme does not deny the role of culture, nor does it undermine the nineteenth-century view that culture properly understood is as much an activity of the rational mind as is science. But the concept of the meme belongs with other subversive concepts — Marx’s “ideology,” Freud’s unconscious, Foucault’s “discourse” — in being aimed at discrediting common prejudice. It seeks to expose illusions and to explain away our dreams. But the meme is itself a dream, a piece of ideology, accepted not for its truth but for the illusory power that it confers on the one who conjures with it. It has produced some striking arguments, not least those given by Daniel Dennett in Breaking the Spell, in which he explains away religion as a particularly successful but dangerous meme.’
Those concepts according to Scruton, are not science, but rather scientism.
And he focuses back-in on judgment, or the capacity for judgment attached to ‘I,’ and an ‘I’ which looks towards transcendence:
‘Surely human beings can do better than this — by the pursuit of genuine scientific explanation on the one hand, and by the study of high culture on the other. A culture does not comprise works of art only, nor is it directed solely to aesthetic interests. It is the sphere of intrinsically interesting artifacts, linked by the faculty of judgment to our aspirations and ideals. We appreciate works of art, arguments, works of history and literature, manners, dress, jokes, and forms of behavior. And all these things are shaped through judgment. But what kind of judgment, and to what does that judgment lead?
Interesting quote by Scruton in a debate about Islam, at min 6:35 of video 4/4:
‘Universal values only make sense in a very specific context…the attempt to universalize them, or project or impose them…just leads to their appropriation by sinister forces.”
Worth a read.
-Steven Pinker, Harvard experimental psychologist and cognitive scientist wrote a piece in the New Republic, entitled: ‘Science Is Not Your Enemy‘
-Now Daniel Dennett, philosopher, cognitive scientist, one of the New Atheists and Boston-based secularist responds to Wieseltier:
‘Pomposity can be amusing, but pomposity sitting like an oversized hat on top of fear is hilarious. Wieseltier is afraid that the humanities are being overrun by thinkers from outside, who dare to tackle their precious problems—or “problematics” to use the, um, technical term favored by many in the humanities. He is right to be afraid. It is true that there is a crowd of often overconfident scientists impatiently addressing the big questions with scant appreciation of the subtleties unearthed by philosophers and others in the humanities, but the way to deal constructively with this awkward influx is to join forces and educate them, not declare them out of bounds.’
So, how do you teach the arts and tilt the culture? Camille Paglia has some ideas, including the idea that George Lucas has taken root in more 20th-century minds than anyone else with his space opera:
‘As is often true of the traditionalist conservative thinkers today, his thought was shaped by the Kantian Romantic tradition of the Nineteenth Century that saw a religious attitude as essential for a healthy moral order, so that traditional religious experience needed to be defended against a Darwinian science that claims to explain the place of human beings in the natural world without any reference to a transcendent realm beyond nature. And yet–again like many traditionalist conservatives–Scruton did not believe in the literal truth of Christianity or any other religion.’
‘At the same time, there is the irony and paradox of this treatment that Scruton is “considered to be one of the world’s leading conservative philosophers” — which is what it says on the cover of his own book. Now I see Scruton called “Our greatest living conservative thinker,” by Daniel Hannan (an “author, journalist, and politician”), and “One of the most eminent philosophers in the world,” by Robert P. George (a Princeton University professor of jurisprudence). But “conservative” thinkers are not generally happy with the cognitive and moral relativism, if not nihilism, that follows from anything like Wittgenstein’s thought, and even from, as we shall see, Scruton’s own analysis of Wittgenstein’s thought. This is particularly surprising given the devastating critique in Scruton’s Fools, Frauds and Firebrands, Thinkers of the New Left [Bloomsbury, 2015], which exposes the irrational “nonsense machine” of “post-modernism” and “Critical Theory” Marxism. But even in that book, and in the passage I have just quoted, there is a clue to what is going on and to what kind of “conservative” Scruton may be. And that is, in the former, his benign and complacent attritude towards Hegel, and, in the latter, the impression he gives that the “ambition” of Kant and Hegel is comparable or even equivalent.’