After you’ve undergone our seven-night welcome session, your white initiation robe will be given a red band. ‘Redbands’ have full access to the dormitories, performing hall and two on-site cafeterias.
Six months and two bluebands later, you’re officially a member of the Session UN.
Two years and two global tours after that, a recital of the Global Human Rights Charter will be scheduled.
Five yellow stars means a Merit Leader will have emerged, with full access to the Staff Budget, Policy Handbook, and Equity Index.
After a successful Global Human Data & Trust Mission, a soulful chorus of John Lennon’s ‘Imagine’ will fill The Stadium Of (M)an.
Three extraordinary, beautiful humans will take the stage to receive their Golden Diplomas.
**Note: One must remain non-hostile to Christianity in order to earn ire beneath the new liberal ideals, ideologies, and ideologues. I think a respect for tradition is a must for anyone, ultimately, responsible for gatekeeping (learning from and upholding a tradition which extends into the past).
Sure, such folks (politicans, especially) pay lip-service to the latest moral cause, but they also have duties to the dead, the living, and to their own families. I”m expecting some sort of rift between liberal idealists and activist/radicals to manifest more often in American politics going forwards. That said, such a coalition will still mobilize against anything traditional, religious and conservative most of the time.
Our author finds Paglia a welcome, often contrary, voice of the Boomer generation. Peterson and Paglia remain true in their own experiences and principles against prevailing orthodoxies (Peterson from frontier-town Canada, and Paglia teaching at the Philadelphia University Of The Arts). Paglia, perhaps, can be a good thermometer for the radical, heated core of 60’s activism (everything must go, utopia awaits).
‘Behind that devotion to heterodoxy lies something softer. She [Paglia] admitted that she’s chosen to censor herself in front of her students, no longer teaching them, for example, Billie Holiday’s “Strange Fruit,” a song about lynching, which was for years an important part of her course “The Art of Song Lyric.’
I had a very competent, very good professor tell me she stopped teaching Sylvia Plath for somewhat similar reasons. It was too much for some students.
‘In her slender 1998 book The Birds, for example, published by the British Film Institute, she [Paglia] writes that the Hitchcock classic is “in the main line of British Romanticism, descending from the raw nature-tableaux and sinister femmes fatales of Coleridge.”
One could do worse than study British Romanticism (Wordsworth, Keats, Mad Bad Byron), despite the problems that come in glorifying (M)an and (H)umanity. Some people are so busy glorifying (M)an they treat actual men appallingly. The record isn’t always so (I)deal.
One could do worse than the Romantic return to Nature as a worthwhile area of study, (despite a serious German problem, among others). The Modernist response to Romanticism (Bloomsbury, Eliot, Pound) and some current neo-classicalretorts out of the postmodern soup could take up a few good semesters.
‘Cosmic reality is both wondrous and terrifying to her. “The sublime,” she said, “opens up the vastness of the universe, in which human beings and their works are small and nothing!” The world may be less enchanted than it was when Paglia was a child, but she still stands in awe of it. Her life’s work has been to share that message with others.’
There’s plenty to share, and, for what it’s worth, John Williams playing Isaac Albeniz’ Cordoba can induce a sublime state for me (especially at minute 1:20):
I think this is more reflection and a desire for the holy and larger-than-myself (ducking away from busy streets, into the quiet interplay of shadow and sun, observing the stars carved into the ceiling and looking for patterns).
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Dear Reader, I’m accustomed to my own little corner of the internet, where I traffic in low-traffic. I synthesize many of my own experiences, ideas and other people’s thoughts into occasional bursts of competency.
In the video below, Camille Paglia and Jordan Peterson discuss a shared view that post-structuralism (Foucault, Lacan, Derrida) has impoverished much of the humanities. As Paglia notes, the older-school New Criticism at least had some devotion to truth in its close textual readings.
She might share some similar intellectual ground with Peterson in using Nietzsche’s nihilist toolkit to examine many modern problems in the arts and where people are finding meaning in their lives (the move from Schopenhauer’s Will To Nietzsche’s Will To Power). Deploying Nietzsche’s Apollonian/Dionysian dichotomy, too, into pop culture gives Paglia some depth as she tries to synthesize high and low (Madonna, George Lucas, Alfred Hitchcock). Despite her affinity for actual 60’s Marxist radicals which I don’t share (many of whom LSD’d their way into oblivion), Paglia pushes against many feminists and careerists from this radical point-of-view.
She’s a popularizer appealing to a large audience and a contrarian in the sense of the word for which I have some respect.
In fact, both have an ability to appreciate and understand many knowledge claims made by many Englightment and post-Enlightenment fields of study. One shouldn’t have to become anti-empiricist (including nihilism), nor anti-humanist, in seeking a good humanities education.
Many postmoderns (and some Nietzscheans, for that matter) dislike being called-out their on relative ignorance of the sciences. From mathematics to statistics, from chemistry to biology, from psychology and on down the line to history, many institutionalized folks imagine themselves often standing outside, and in radical opposition to, the civilization and institutions they are entrusted to maintain.
One of the reasons I suspect both Paglia and Peterson are in a currently ‘semi-banished’ cultural space is that they both openly claim a respect for the wisdom and depth found in the Bible (whatever your thoughts on the transcendent claims to truth and knowledge found therein). It appears both take a deeply tragic view of life and human nature, and both reject the rejection of traditions so much in vogue these days.
Notice this is enough to upset the apple-cart of many ‘-Ists,’ from feminists to gender activists to many Left-leaning coalitions of political utopians and social justice seekers, often seeking institutional authority while claiming all current institutional authority is illegitimate. Many such ideas have become very mainstream, indeed.
If you haven’t noticed such ‘-Ists,’ it seems they and I’d argue, too, that you maybe should be paying more attention.
Jim just loves to garden, yes he does. He likes nothing better than to put on his little overalls and his straw hat. He says, “Let’s go get those tools, Jim.” But then doubt begins to set in. He says, “What is a garden, anyway?” And thoughts about a “modernistic” garden begin to trouble him, eat away at his resolve. He stands in the driveway a long time. “Horticulture is a groping in the dark into the obscure and unfamiliar, kneeling before a disinterested secret, slapping it, punching it like a Chinese puzzle, birdbrained, babbling gibberish, dig and destroy, pull out and apply salt, hoe and spray, before it spreads, burn roots, where not desired, with gloved hands, poisonous, the self-sacrifice of it, the self-love, into the interior, thunderclap, excruciating, through the nose, the earsplitting necrology of it, the withering, shriveling, the handy hose holder and Persian insect powder and smut fungi, the enemies of the iris, wireworms are worse than their parents, there is no way out, flowers as big as heads, pock-marked, disfigured, blinking insolently at me, the me who so loves to garden because it prevents the heaving of the ground and the untimely death of porch furniture, and dark, murky days in a large city and the dream home under a permanent storm is also a factor to keep in mind.”
‘A new PBS documentary tries to excuse a murderous and totalitarian cult.
When his captors uncinched the noose around his neck and shoved him into a wooden chair, Alex Rackley might have assumed his ordeal was over. He had already endured a flurry of kicks and punches, the repeated crack of a wooden truncheon, ritual humiliation, and a mock lynching. But it wasn’t over. It was about to get much, much worse.’
That party at Lenny’s is getting pretty awkward. Full piece here.
‘. . and now, in the season of Radical Chic, the Black Panthers. That huge Panther there, the one Felicia is smiling her tango smile at, is Robert Bay, who just 41 hours ago was arrested in an altercation with the police, supposedly over a .38-caliber revolver that someone had, in a parked car in Queens at Northern Boulevard and 104th Street or some such unbelievable place, and taken to jail on a most unusual charge called “criminal facilitation.” And now he is out on bail and walking into Leonard and Felicia Bernstein’s 13-room penthouse duplex on Park Avenue. Harassment & Hassles, Guns & Pigs, Jail & Bail—they’re real, these Black Panthers. The very idea of them, these real revolutionaries, who actually put their lives on the line, runs through Lenny’s duplex like a rogue hormone.’
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Shelby Steele weaves Gustave Flaubert’s ‘Madame Bovary‘ into his insights about the world, coming to realize the Black Panthers in North Africa..had problems:
‘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.’
Interesting take: Marxism, in addition to being a social and economic theory, and a theory of (H)istory claiming to predict the future, is also something like a gnostic faith.
I’ve had conversations with precisely the kinds of people you’d expect to be Marxists on the streets of Seattle (grimy, neurotic and ‘fringe’..chicken or the egg?). I’ve also had conversations with high IQ, well-adjusted people working in big tech, all handing-out flyers on the same streets (did ya hear Cuba has the best health-care in the world?).
So maybe Kant’s Critique of Pure Reason did lop the head off of German Deism. Maybe Hegel then turned the prostrate Body into ‘The State’ and a kind of royal ‘We’ in search of a spirtual home on Earth. Maybe Karl Marx came along using the antinomies–>dialectical method–>critical theory lineage, turning ‘the State’ into half-rotten superstructure about to be overthrown for perfectible (M)an and the Utopia to come.
My two cents: Here are some realities I don’t think many liberal idealists have addressed (especially the Boomers), involving the costs of all that ‘social change’ via the 68’ers. Just as do the most religious and Puritan among us, our high-minded and liberal idealist Americans rely upon the same principles the radicals will always seek to undermine (more visible now that our institutions are weak/failing for various reasons).
The new civic religion has been driven quite a bit by radical zeal, forcing liberals to support the latest moral good, wielding the latest (C)ause as bludgeon, harnessing discontent into Progressive Statism.
Carl Sagan and John Lennon want us to hold hands, of course, come to know (S)cience and save the Planet, bringing PBS to the masses through rational public policy.
We’ve all built our houses in the same bay, it turns out, and we’ve all planted our pylons in the same tidal muck. This Marxist utopianism, and these radicals, hacking into all the pylons, of course, have their reasons.
In practice, Marxism scales into global activism and authoritarian technocracy, with an inability to understand individuals and local life at all. This is why it resolves into collectivist identitarianism and more or less the Eye of Sauron.
Maybe this was one of the true costs of 60’s radicalism, which relatively fewer are happy to discuss.
The radicalism was there all along.
What’s coming as a response to all this chaos?
Religious revivals? Prohibitive religious moralism?
Dear Reader, after all these waves of secularization, leveling-down, and marketing-up of our lives, the ideal society will form at last. Human beings are pretty-much good, and just need the right guidance from the most wise and knowledgeable among us. From ‘socially conscious’ corporate-posturing to ‘benevolent’ managerial idealists running our lives, freedom is next!
-Koons gets the Annie Leibovitz treatment (a well-made, but unfortunate photo at the link).
-This is not a commentary on Koons’ art, some of which I like well enough, it’s a much worse beast; another attempt at cultural criticism.
In the talk around Koons, what often stands-out to me was how much talk there was about Koons himself, and the search for meaning in all that talk. The concept of artist-as-individual is nothing new; an isolated Self, quite apart from society, mining his interior life and experiences in order to represent beauty, meaning, and some attempt at expressing universal truths through his work and craft. This is unsurprisingly part of what all artists do, and the extreme individuality of this process is what Western artists somewhat consciously have been doing for a few centuries now, from musicians to writers to sculptors, from romanticism to modernism to post-modernism and beyond.
The fact that Koons is doing this with such relentless self-promotion and while also courting celebrity is arguably a much more ‘modern’ phenomenon. A certain amount of melliflous, abstract bullshit seems part of the Koons’ game, as if you’d walked onto a used-art lot as Koons tours you around, asking what’s-it-gonna-take-to-get-you-into-one-of-his-pieces. He offers you an invitation and a return to part of your Self. He can make you whole again within the work produced by his Self.
Jeff Koons is a brand.
Perhaps this is what it takes these days to make a living by schmoozing with wealthy art-buyers, but in some ways, it has a distinctly American feel. High and low culture mix in a highly commercial, utilitarian way. The urge to merge abstract art and the avant-garde with mass, pop-culture is expressed. Fame and meta-critiques on fame, celebrity, money, and the Self amplified for all the other Selfs to see has implications for much of our culture, I suspect.
As to establishing Koons’ bona fides enough to merit attention by Vanity Fair, here are a few quotes from the piece:
Everyone’s getting in on the bullshit!
“Jeff is the Warhol of his time,” proclaims Adam Weinberg, the Whitney’s director.’
You need an L.G.B.T. blessing to be truly avant-garde these days:
‘The reference to Curtis ties Koons to the last true avant-garde—a pedigree the artist likes. Curtis, who refused to be called a drag queen, was a pioneer of the L.G.B.T. movement and, like Candy Darling, was made famous by Warhol’
And:
‘What Warhol and Koons do have in common, though, is an uncanny ability to nail an image or an object so that it catches the Zeitgeist.’
Partially true, perhaps, but what if the Zeitgeist is nothing but a leafy suburb full of good schools, intact families, and moderate lives? Isn’t this why some youngish people (ahem…many hipsters) often leave their small towns and suburbs looking for meaning, group membership and purpose in what can end-up vaguely collectivist and vaguely individualist lives in cities?
Everyone’s an artist, these days.
Also, you must establish modernist credentials for the brand:
‘Koons’s job at MoMA gave him the opportunity to immerse himself in the history of modernism, in particular the ideas of Marcel Duchamp, who changed art history by showing how everyday objects, or “readymades,” could be elevated into the realm of art, depending on context. Duchamp’s theories were a revelation to Koons.’
Yes, dear reader, Piketty and Brecht in the same paragraph:
‘Barbara Kruger, the artist whose unsentimental pronouncements have been cutting to the chase about the art world for decades, says “Oh boy” when I call to discuss Koons, whom she has known since they both were starting out in New York. She needed to think about it and later wrote me: “Jeff is like the man who fell to earth, who, in this grotesque time of art flippage and speculative mania, is either the icing on the cake or some kind of Piketty-esque harbinger of the return of Brecht’s ‘making strange.’
And finally, while I have no quarrel with neurosicence, pop-neuroscience is often a repository for the modern search for legitimate experiences and theories of the Self:
‘Dr. Eric R. Kandel, a Nobel Prize-winning neuroscientist, was so impressed with the show that he e-mailed Koons afterward. I asked Kandel why. He explained, “I have been interested in the ‘beholder’s share,’ an idea that came from the Viennese art historian Alois Riegl. It involves the concept that when a painter paints a painting or a sculptor makes a sculpture it is not complete unless a beholder, a viewer, responds to it.”
Kandel adds, “When you looked at the sculptures you saw yourself embedded in the gazing balls. Artists sometimes put mirrors in works, but they don’t design the work so that you find yourself in the arms or chest of a statue, which is what Jeff did.’
Go and find your Self and be made whole, dear reader, within Jeff Koons’ work and the Jeff Koons brand, and try and tell the dancer from the dance.
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Koons’ Made In Heaven only amplifies that sound, blurring the line between art and porn, private experience and public show, innocence (so easily corrupted) and naive, narcissistic indulgence.
‘This type of dislocated imagery is what motivates people. They’re amused by it, but they have a lot of guilt and shame that they respond to it. I was trying to remove that guilt and shame.’
Another quote which highlights an idea of some import to the nation:
‘Coming from a suburban, middle-class background, as he did, he felt that there was something, if not dignified, at least, too easily discarded about this kind of imagery and this kind of sentiment.’
‘By the time “Paralyzed: 50 Floors” earned wide release, Bellagamba’s unique blend of post-war Italian neorealism, sci-fi surrealism, and giallo was no longer finding an audience.
Bellagamba died penniless in his native Abruzzo in 1999, interred within a bowl of Diavolicchio (red chili) inside the stomach of a white dove. ‘
Still from the set of “Paralyzed: 50 floors:’. Antonio Stagglione (sp) plays the protagonist as child and future child within the then-longest-recorded Italian sci-fi action dream sequence.
‘We look inside the shards of the past to discover a future that lies stranded in the present.‘
-Giacomo Bellagamba. R.I.P.
***Addendum: Hey, I’d just like to help prepare us all for a world with the coming AI assistive technology. Easily manipulable images and standardized, formalized text are happening right now. Keep your bullshit detectors finely-tuned.
A reader sends a link to The Confessions Of Bernhard Goetz, subway vigilante:
There’s a lot here: Genuine threat (thugs), fear, real victimization (previous muggings and a likely soon-to-be mugging), but also serious ignorance and over-reaction.
I imagine Goetz was a bit like a feral animal fleeing out of that subway car, up the station stairs and into the night.
From min 33:40:
The question to be litigated was whether the community would make a judgment about his (Goetz) own good faith belief….are we in a position to condemn him for over-reacting?
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On that note: So bad, but awfully good at satisfying an urge. The cinematic glorification of vigilantism can make victims of plot and good character development:
The crime back then was so bad that some citizens stood up to protect their own and others, defying police and transit authorities.
Who can you really trust?
So much high and low in a big city, so much to learn about turf, risk and danger:
There’s a way through here, where the good people and the good in people can flourish, without insitutional incentives getting in the way.
Heather MacDonald: ‘The War On Cops’. C-Span interview with MacDonald on the book here. She also points out that Compstat isn’t really going anywhere: ‘Prosecution Gets Smart:
‘Computational criminology seeks to address criminological problems through the use of applied mathematics, computer science and criminology. Methods include algorithms, data mining, data structures and software development.’
Limited Resources + Potentially Imminent Risk/Harm + Repeat Offenders/Learned Skills + Violence + Lots Of Room For Error = Too Much Practical Upside To Not Adopt Additional Means Of Fighting Crime.
A move towards rationalism (hands-off technocratic leadership) and activism will mean more impersonal surveillance, cameras, and more data-gathering by identity category. Often, this will mean less physical security and targeted law enforcement in many areas (it will fall on deaf ears that the evil in human hearts will always be with us, that it needs to be met with courage and isn’t always caused by Nazis). Leftists tend to gather around injustice (their own real and perceived injustices) and identify victims (against the oppressor) in endless lurching towards liberation and praxis.
Mildly To Marginally Related: American city-politics can be…pretty rough..and for generations partly to mostly corrupt:
Via David Thompson-Chicago Murder Stats in one place.
Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway‘.
Many of the images in Subway are sensual, dangerous and raw, but then again, so was the NYC subway in about 1979 or 1980. Davidson plays with different exposures, techniques and settings, eventually deciding on using color to depict what he saw. He also reportedly toned-up physically, geared-up, and mentally prepared himself to get off and on those subway cars during the project. He had some undercover city cops with him a few times.
Imagine how conspicuous a new Nikon/Canon DSLR and a flash would make you in one of those cars at night (he, in fact, had one camera stolen).
Come for the raw, dangerous subject matter and the vicarious risk (oh yeah, it can happen again…just stay tuned). Stay for Davidson’s compositions, subtle use of light and color, and the genuine humanity he found within his larger vision.
Is a certain dangerous, glamorous adventure beneath you?
‘In the Letter of Commitment, the Foundation staff and the Board pledged action in response to the June Community Letter’s call for us to become proactively antiracist. The Foundation is grateful to these poetry communities for continuing to hold it accountable, as it speaks to a belief in the capacity for change. The Foundation holds itself accountable as well, and has begun to move forward with short- and long-term equity efforts.‘
Such bad use of language!
Blink if you can hear me.
The money which someone earned in the world, often passed down to those who didn’t earn the money, is further donated to those who haven’t earned the respect of poets. Often, the support a decent poet needs to get better is diverted to the loudest voices in the organization and wasteful, bureauratic, mastubatory ends.
I think the best response is just posting good poetry. Maybe it strikes you, maybe it doesn’t.
‘Elizabeth Alexander never expected to go into philanthropy. Now she’s in her third year as the president of the Andrew W. Mellon Foundation, the largest supporter of the humanities and the arts in the U.S., where she’s quickly applied her vision to foster a more just society.’
‘There, she co-designed the Art for Justice Fund—an initiative that uses art and advocacy to address the crisis of mass incarceration—and guided the organization in examining how the arts and visual storytelling can empower communities.’
I like the idea that poems are actually not supposed to engage you in direct action, neither political, nor personal. They usually take some work to understand, but they can come alive on the tongue and live like wisdom in the brain for years.
Kirsch was not so impressed with the 2009 inauguration ceremony nor Elizabeth Alexander’s use of poetry to commerorate political power:
‘In our democratic age, however, poets have always had scruples about exalting leaders in verse. Since the French Revolution, there have been great public poems in English, but almost no great official poems. For modern lyric poets, whose first obligation is to the truth of their own experience, it has only been possible to write well on public themes when the public intersects, or interferes, with that experience–when history usurps privacy.’
‘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, overwhelming 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.’
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And still also more on institutional capture and old piles of money, as posted:
‘Ken Stern knows an awful lot about nonprofits, having spent the better part of a decade as chief operating officer, then president of NPR, one of the best-known, and controversial, nonprofits in America.’
Charity has limits.
This blog likes to keep an eye on NPR, as they’re a child of the 60’s, and but for the work of LBJ’s Great Society lobbying to include ‘radio’ in the Public Television Act of 1967, they might not be around. Many NPR stories, in reaching out to the wider world, often return to the touchstones of feminism, environmentalism and some form of diversity multiculturalism. Amidst high standards for journalism and production values lies the tendency towards positive definitions of equality, justice and peace. They tend to assume their ideals are your ideals as they filter new input from the world.
In turn, many feminists, environmentalists, and multiculturalists/activists rely on foundation money and/or private donations, and/or public institutions, for survival. They aim for broad definitions of the public good, and seek to influence both the culture and political outcomes.
Everyone’s starting a non-profit these days:
‘The ability to survive, even thrive, with programs that have been proven not to work is just one of the many oddities ‘With Charity for All’ documents in the topsy-turvy, misunderstood, and mostly ignored world of nonprofits’
Non-profits have become big business, partially following the ‘greatness model’ that worked so well for the boomers, when the getting was good. Unfortunately, there are limits to any model, and we’ve got serious economic issues and a lot of political dysfunction. The money has to come from somewhere.
Shakely again:
‘To clean up the messy nonprofit landscape, Stern offers some suggestions that are sure to cause concern in some nonprofit quarters, including increased government oversight, increasing the application fee to cover the cost of better IRS review and, most radical of all, putting a life span on the charitable status afforded nonprofits, then requiring a renewal after a certain period of time (maybe 10 years). It’s an admirable goal, but in a sector where the stated goal of private foundations is self-preservation and “once a charity; always a charity,” is the mantra, it ain’t gonna happen. Stern knows this, of course, but it doesn’t stop him from asking this and many other valid questions about a sector that is loath to engage in self-evaluation’
It may be as simple as following the money.
On Stern’s third point, putting a life span on the charitable status afforded nonprofits, Stern might agree with David Horowitz, of all people. He’s a red-diaper baby, an ex-Marxist activist cum anti-Leftist, anti-Communist crusader. Making foundations and constantly agitating is what he knows how to do.
Horowitz argues that such foundations as Ford (which donates to NPR) have become vehicles for the interests of political activists, portraying the matter of as a fight between capitalism/anti-capitalism and/or socialism. He mentions the Tides foundation here. They are big money, he points out, and Obama’s political career was largely made possible by activist political organization, and the money and manpower behind them:
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Stern and Horowitz potentially agreeing on some regulation of non-profits makes for strange bedfellows. Obama, true to form, was seeking a permanent form of activism. Activists, and the political idealists with whom they often find common cause, often don’t produce anything of value independently, and must rely upon existing institutions for their support.
It’s worth thinking about who wants to be in charge, and why, and what that means for everyone else. Following the money never hurts, and it’s a necessary evil, just a politics is. If you tend to agree with the ideals, you tend to focus on the sausage, not how it’s getting made.
This blog wants to focus on what keeps our society open, healthy and dynamic, and what maintains our political and economic freedoms. The pie ought to be growing.
Here’s Sam Harris apparently following the TDS logic where it leads (towards a Left-authoritarian political populism, while using the truth/knowledge claims of the social sciences to justify going great guns against Trump).
Here are some speculative inferences on my part:
People become enmeshed in their medium, their practice, and within the complex feedback loop of maintaining a popular program and an audience. Such folks must become what they do, to some extent. Harris strikes me as more reasonably honest than most, but if you float on a current you’ve helped create long enough…some of your blind spots will surface as well.
Harris is quite iconoclastic and brave in speaking out against many shibboleths of the Left. He also still calls himself a man of the Left (not IDW per se, not ‘classically liberal’ etc.). Emotionally, it would be understandable to try and bridge this gap.
Harris argues that reason can scale (true in some respects), and that religious belief can twist men (true in some respects) into becoming more irrational than they would otherwise be. Personally, it’s not evident that New Atheism and ‘rationality’ scale into governing nor authoritative bodies without what’s obviously happening now: A devolution of the public square into less civility (to which Trump has contributed), potentially justified violence, and a new Statism forming out of radical Self-hood and liberation movements. It’s not clear you get rationality and Left populism without radicals (condoning violence), true-believing activists, well-meaning liberal idealists attacked from the Left, and the New Authority (stifling speech and using the laws to punish political enemies). This tells me the underlying map of human nature is wrong, and that many elements of reality are poorly calibrated.
On this site, see:
To the firm believer in this idea of ‘rationality,’ the spectacle of human behaviour (in himself and in others) departing from its norm may be expected to confirm his suspicion that ‘rational’ conduct of this sort is difficult, but not to shake his faith in its possibility and desirability. He will deplore the unregulated conduct which, because it is externally unregulated, he will think of as ‘irrational.’ But it will always be difficult for him to entertain the notion that what he identified as ‘rational’ conduct is in fact impossible, not because it is liable to be swamped by ‘insane and irrational springs of wickedness in most men,’ but because it involves a misrepresentation of the nature of human conduct.’
and:
‘Among the other evidences of Rationalism in contemporary politics, may be counted the commonly admitted claim of the ‘scientist, as such (the chemist, the physicist, the economist or the psychologist) to be heard in politics; because, though the knowledge involved in a science is always more than technical knowledge, what it has to offer to politics is never more than a technique.’
Oakeshott, Michael. Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print.
Personally, I tend to think of a few nodes of change in a society from which new thinking and ideas emerge.
–Enlightenment Natural Philosophy becoming different branches of science and computing technology: Really smart and driven people contributing to scientific discovery and coming to fruition within these fields of study. There has been a lot of progress here, and the rate of change is affecting all of us every single day (just wait until the next war and the assistive automation that will be deployed).
–Philosophers and idea men in metaphysics: Synthesizers of ideas and sometimes creators of their own. This can also include popularizers of other men’s ideas and idea men leading others where they’d like them to go.
–The arts and artistic movements: A lot of new thinking and thought arises out of artistic innovation and loosely affiliated bands of artistic creators. A lot of what ‘cool’ is regarding popular culture happens here, as well as inspiring generations. Good art speaks to our souls.
All of this can make it harder to appreciate what’s so important to conserve.
Another video sent in from a reader:
A lot of people consider themselves as outside any tradition or practice, or institution, animating against such things. Such ideas and people following them are responsible for how and why the last few generations of humanities have been taught in our institutions, and the failure of many of those institutions.
But radical humanism, or renewed faith in humanism, must still ground itself in claims to knowledge and truth, in rationality, or in some thinking which can maintain civil society and mediate other competing claims according to its lights. Why and how should humanists manage the public square?
