Repost: Some People Have Had Grand Plans For The Future-Technocratic Utopianism Runs Deep

Michael Lewis at The New Criterion: ‘The Architect Of The Reich:’

‘Albert Speer (1905–1981) was born in Mannheim, Germany, the son and grandson of architects. Pushed by his father to study architecture, he studied first in Karlsruhe, then Munich, but he only became serious after he transferred to Berlin. There he applied to study with Hans Poelzig, the brilliant expressionist architect of Weimar Germany, who rejected Speer as an inferior draftsman. Disappointed, he turned to the man who was Poelzig’s polar opposite, Heinrich Tessenow, a reform-minded architect with a love of simple, clear volumes and neoclassical clarity—the ultimate basis of Nazi architecture. Speer, who all his life knew how to ingratiate himself, sufficiently impressed Tessenow to become his teaching assistant.’

From the looks of it, there’s some serious neo-classicism going on; deep Greco-Roman influence. The thing likely would have been built if it weren’t for WWII:

So, what about neo-classicism mixed with ‘technocratic utopianism,’ or the rather suspicious desire to centrally plan, control, and organize everyone’s lives on the way the Glorious Future?:

Robert Hughes saw echoes of this technocratic modern utopianism in Albany, New York. It really may not be that far from Mussolini to the bland bureaucratic corporatism found elsewhere in the West:

‘…classicism with a pastry-cutter,’

And as for the fascists having:

…a jackboot in either camp, one in the myth of ancient Rome, one in the vision of a technocratic future.

Some photos of Albany here (from Althouse). It doesn’t exactly blend-in with the neighborhood.

Should you disagree, you are worse than Hitler:

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As previously posted:

A reader sends a link to a bad public art blog.

From Buzzfeed: The 7 Ugliest Government Buildings In Washington D.C. (Via Althouse)

From an article in Der Spiegel on the Bauhaus, where modernism got its start:

‘The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert “effective influence” on “general conditions,” fashion a more just world and turn all of this into a “vital concern of the entire people.”‘

I’m always a little skeptical of such grand visions. Utopianism runs deep.

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What if there was a Wisconsin motor court/supper club with global ambitions? What if you fused a local motel with the U.N. internationalist style, you ask?

Click here to experience ‘The Gobbler.

After taking the photo tour, I remain convinced that ‘The Gobbler’ exists in its own realm of awesome badness. Such a shag-covered, abandoned love-child of the late 60′s and early 70′s is challenging just what I thought I knew about American culture.

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Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:

The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’

They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City

Check out the ‘Socialist Cybernetics‘ of Salvador Allende.

In working towards a theme, check out Buzludzha, the abandoned communist monument in Bulgaria’s Balkan mountains, which still draws up to 50,000 Bulgarian Socialists for a yearly pilgrimage. Human Planet’s Timothy Allen visited the structure in the snow and took some haunting photos. You will think you’ve stepped into a Bond film and one of Blofeld’s modernist lairs, but with somewhat Eastern Orthodox tile frescos of Lenin and Marx gazing out at you, abandoned to time, the elements and to nature.

Repost-Edward Feser on David Mamet’s ‘Glengarry Glen Ross’ And More Modernist Commentary

This blog welcomes lenses with which to view works of modern art.

From Edward Feser: ‘Aquinas Watches Glengarry Glen Ross’

Feser:

‘Clarity: As I’ve said, the movie abstracts from concrete reality certain general character types, purges from them the nuance and complexity in which we find these general patterns embedded in everyday life, and re-embodies them in extreme characters so that we might more carefully consider those types. Just as we know more clearly what it is to be a triangle by abstracting from particular triangles (red ones, green ones, triangles drawn in ink, triangles drawn in chalk, etc.) and considering the general pattern, so too does the movie allow us to see more clearly what it is to be a desperate man, a cruel man, a weak man, a dishonest man, a broken man, and so on, by way of its skillful caricatures.

So, in its integrity, proportion, and clarity, Glengarry has the marks of a beautiful thing, despite its grim subject matter. One need not admire and approve of Satan in order to admire and approve of Dante’s or Milton’s literary representations of Satan, and one need not admire or approve of the sorts of people represented in a film like Glengarry in order to admire and approve of the representation itself.’

Glengarry Glen Ross‘ has become something of a cultural touchstone for many; maybe this generation’s ‘Death Of A Salesman

You call yourself a salesman you son-of-a-bitch?:’

For those who’ve ever had a real job, and seen people at their best and worst, or been reasonably honest about their own motivations and willingness to be do right by others under duress, well, there’s a lot of truth to be found in this particular work of art.

Like boxing gyms and MMA matches, or call-centers full of debt collectors, or daily life on public city buses, the stuff of humanity is pretty much the same as anywhere else, just more raw and closer to the surface.

On fuller display, perhaps.

Feser provides some reasonable context, here, the kind that forms the backbone of a good Catholic education, and which this blog considers to have enriched the debate.

For those who didn’t ask!:

As this blog sees things, the modernist project is not explicitly ideological, but it is extremely ambitious: Make it new. Start from the ground up, or go back to the foundations and take a really good look, and have the individual genius start building his own, new foundations (alone or in contact with others, such as the Bloomsbury Group).

It takes really talented individuals to pull this off; often individuals with previous exposure to tradition; young practitioners with enough talent and perseverance, as well as enough of a pedagogy to inherit and rebel against should they choose.

As this blog has noted, it’s not hard to witness a string of causation between high modernist aims and a lot of the modern and postmodern aimlessness we see all around us. There sure are a lot of poseurs and would-be artists bobbing in the postmodern stew, left to sort out the entire world and their relation to it alone, or upon a stage (as alone and not alone as one can be).

They write these f**king art blurbs before they have any art! What the f**k is this lady doing?:

From the comments on this piece:

‘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?’

The above can invite all manner of despair and isolation, and perhaps a deeper cynicism we see in this generation’s rather pervasive desire for fame and recognition.

The above can also exacerbate the spiritual and meaning-making demands individuals place upon the Marketplace, the Church, and in The Media and The Academy (where an authoritarian/totalitarian radical Left seeks to control institutions, institutions where a kind of Western secular humanism and standard-issue political idealism often dominates).

As I see it, I cannot call myself a believer in the questions the Catholic Church claims to to be able to answer, but many modern political and politico-philsophical movements are incomplete at best, and dangerously wrong at worst.

Ah well…there’s my two cents.

There’s good art to be found, of course, but like most well-made things, good art is relatively rare, its ultimate value and quality endlessly disputed, but perhaps, enduring.

Enduring…I like the sound of that.


Because you really didn’t ask:

Another video included at the link.

David Mamet underwent a conversion to conservatism in rather dramatic and public fashion a few years ago. In leaving his liberal views behind, he’s no doubt become a heretic to some. At the link, he hosts an interview at Il Forno in Santa Monica with Uncommon Knowledge’s Peter Robinson.

Here’s my take, for what it’s worth:

Born and raised in Chicago, Mamet seems pretty old-school and pretty tough. He reminds me a bit of Norman Mailer, verbally pugilistic and combative, though unlike Mailer he’s taken a different turn into ju-jitsu, instead of boxing, as well as into a different set of motivating principles. Alec Baldwin’s Death-Of-A-Salesman-on-steroids speech from Glengarry Glen Ross is a well-known example of Mamet’s work (demonstrating the kind of balls-out truth-telling dialogue from which Baldwin has possibly not recovered). I’m guessing Mamet grew-up back before anti-bullying campaigns and excessive political correctness became the norm.

Mamet also cites Chicago School Of Economics neoclassical thinkers’ Milton Friedman, Thomas Sowell and Austrian economist/political philosopher Friedrich Hayek as central to his conversion. Hayek’s rather tragic view of limited resources and opportunity costs being the natural state of affairs for mankind is clearly an influence. This would generally lead one to eschew the Statist/rationalist idealism and socialist utopianism typically associated with many Left and liberal Left movements.

***As I understand it, Thomas Sowell, after becoming a young Marxist eventually became a young ex-Marxist, embracing a hard-bitten empiricism regarding outcomes and results, not the intentions, of economic and social policies. See him discuss his later vision of human nature and political organization in a Conflict Of Visions.

Mamet cites the Bible, but mainly the Talmud as a source of wisdom and knowledge to draw upon as a guide for flawed human nature. Jewish folks in the U.S. have traditionally formed a reliably liberal/Democratic voting bloc, so unlike many Christian religious conservatives, they aren’t necessarily voting Republican. There are no doubt many reasons for this, but to be sure, there are also many tales of neoconservatives ‘mugged’ out of the social sciences and policy-making halls of the liberal establishment into doubt and skepticism, some chased away by the New Left. There is also a conservative Christian/Jewish pro-Israel alliance which has traditionally been strong on national defense (some fundamentals of that American/Israeli relationship may be changing).

Religious belief can ground one in a kind of traditional and tragic view of human nature. This, say, as opposed to human nature understood as simply a blank slate or existentialist absurdity, or by some political movements as human clay to be molded with the right knowledge and right people in charge of our social institutions (they always seem to nominate themselves). As Mamet discusses in the video, there are distinctions to be made between Talmudic justice and social justice.

I’m guessing he might agree there are distinctions to be made between abstract equality and equality under the law (the exception of Civil Rights and black folks held under the civil laws is discussed). I’m also guessing he’d argue there are distinctions to be made between life, liberty, and the pursuit of happiness on one hand, and liberation theology and/or individual freedom granted by a rights-based cohort in charge of government on the other.

Mamet also touches on the fact that the arts aren’t a political endeavor. If writing a play is simply a didactic enterprise and/or a vehicle for deploying a political philosophy (Ayn Rand?), then I think the artist has probably failed in some fundamental way to show the audience/reader a unique truth which only that work of art has to show. Didactic art can come across as clunky at best, pure propaganda at worst.

Personally, I tend to believe that politics, religion, convention and popular thinking all have trouble with the arts.

Anyways, this is just a brief summary. Any thoughts or comments are welcome.

Feel free to highlight my ignorance.

A Bleak, Modern House-Four Poems

No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’…Cities should be magnets for creativity and culture? –From The Atlantic: Richard Florida On The Decline Of The Blue-Collar ManFrom Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’

A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint

Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton’s ‘The Art Instinct’

Repost: Theodore Dalrymple At The New English Review-‘Houllebecq And Call’

Theodore Dalrymple on Michel Houellebecq here:

‘Hou[e]llebecq has been accused of being a nihilist and cynic, but far from that, his work is an extended protest against nihilism and cynicism. It is true that he offers no solution to the problem, but it is not the purpose of novels, but rather of tracts, to offer solutions to such problems. For him to tell his readers to take up basket-weaving or some such as the answer to existential emptiness would in fact be an instance of that very existential emptiness.’

Here’s a brief Houellebecq interview on Tocqueville (I too was bored when I first read Tocqueville, but I hadn’t realized how deep and accurate so many of his observations were):

As previously posted:

Interview sent in by a reader with Houellebecq on his ‘Soumission,’ which, in his fictional world, imagined a soon-to-be Muslim candidate defeating a French nationalist candidate, followed by an ultimate submission of French society to Islamic law and political leadership.

Interesting discussion at the link (including a deflation of (R)acism as critical theory).

‘But now you’re asking words to mean something they don’t. Racism is simply when you don’t like somebody because he belongs to another race, because he hasn’t got the same color skin that you do, or the same features, et cetera. You can’t stretch the word to give it some higher meaning.’

On some of Houellebecq’s thinking behind the creative work:

‘Yes. It has to happen sometime and it might as well be now. In this sense, too, I am a Comtean. We are in what he calls the metaphysical stage, which began in the Middle Ages and whose whole point was to destroy the phase that preceded it. In itself, it can produce nothing, just emptiness and unhappiness. So yes, I am hostile to Enlightenment philosophy, I need to make that perfectly clear. ‘

Whoa, at least he’s relatively up front about that.

Isn’t it possible to reject Houellebecq’s modernity-is-dead worldview AND also put the universal claims of progressive, collectivist, ideological, postmodern, multicultural feminist discontents into their proper perspective? Perhaps without suggesting the end of the modern world and some presumed next stage to be reached?

And as for discussions of art: Is the book worth a read?

From the comments:

‘Those of you regarding e.g. feminism as somehow an antidote to the patriarchal impulses in enlightenment thinking or Islam, or in broader terms postmodern political and social movements as offering a ‘third way’, something totally new and immune from this dynamic of competitive decay and decline, forget the fact that these movements are themselves the most recent outgrowths of the emancipative instinct, one of the core features deeply rooted in Western thought ever since the renaissance, as Barzun described. As an Asian living in the West myself, I have to tell you that this instinct is simply not present as a core element in other civilisations, and is indeed distinctive about the West. That Japan and Korea, and for that matter every non-western nation, modernised without a countercultural ‘values’ rebellion is indicative in this regard. The west is going to be without allies as it goes with a whimper.

Under such a depressing worldview, hope is provided for by religion and mysticism, a return to medievalism. It is sad, because the West will truly die as it numbs its own most deeply embedded instincts in the process of conversion, but the mysticism is a form of hope for the masses, who never particularly cared for high ideals anyway.

Houellebecq seems to channel Spengler, who hardly anybody reads nowadays. But that such an interesting thinker is hardly glanced at today is an indictment of us, not of him.’

Also, from the comments. Hubristic, but there’s something to deflated nihilism:

‘This is why I love French writers and thinkers. Fascinating to read even if they are always wrong.’

As much as I’m hoping for a break-up of Islamist ideology, I suppose I’m hoping for some light into these dark, post-Enlightenment corners as well. Something other than the existential void and the ideas and ideologies which so often rush in.

I have to give Hollebecq credit, too, for as he points out, the major religions have been dealing with questions of purpose, suffering, telos, why, what, when, and the stuff human nature for a lot longer time.

Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton’s ‘The Art Instinct’

Roger Sandall, Australian critic of romantic primitivism and the Western’s Left’s penchant for the Noble Savage: His home page where his essays can be found. Here’s “The Rise Of The Anthropologues

Robert Hughes, Australian and often fierce critic of modernism and post-modernism.

***I should add that Werner Herzog’s ‘Into The Abyss‘ was worth my time. Herzog is probably not a proponent of the death penalty, but I thought he left me to decide what I thought, and he didn’t flinch from the crime, the tragedy and the loss.

Related On This Site: From The NY Times Book Review-Thomas Nagel On John Gray’s New ‘Silence Of Animals’From Darwinian Conservatism: ‘The Evolution of Mind and Mathematics: Dehaene Versus Plantinga and Nagel’

From Edward Feser: ‘Nagel And His Critics Part IV’A Few Thoughts On Isaiah Berlin’s “Two Concepts Of Liberty”

John Gray Reviews Jonathan Haidt’s New Book At The New Republic: ‘The Knowns And The Unknowns’

Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?’

Sunday Quotation: Edmund Burke On The French Revolution

 

Some More Collected Links & Quotes On The Passing Of Roger Scruton-Douglas Murray, Robert George, Larry Arnhart & Kelley Ross

Douglas Murray on Roger Scruton:  ‘A Man Who Seemed Bigger Than The Age:

‘A man other than Roger might have become bitter about some of the treatment he received, but he never did. Whatever his complex views on faith, he lived a truly Christian attitude of forgiveness and hope for redemption. His last piece for The Spectator – a diary of his last year – radiates this. If he sometimes fitted uncomfortably with the age in which he found himself, it was principally because he did not believe in its guiding tone of encouraged animosity and professionalised grudge…’

Robert George on Twitter:

Larry Arnhart at Darwinian Conservatism:  ‘Roger Scruton, 1944-2020: The Romantic Conservatism of Atheistic Religiosity:’

‘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.’

Kelley Ross at Friesian.com, discussing ‘Scruton’s treatment of Wittgenstein:’

‘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.’

As previously posted:

I recommend the below video, as Scruton spent many years behind the Iron Curtain, working with folks to help chart a course out of Communist rule.

Moral Relativism is actually quite hard to define:

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A quote that stuck out:

‘There’s an attempt to produce a universal, objective morality, but without any conception of where it comes from.’

Where does the moral legitimacy come from to decide what a ‘human right’ is? A majority of ‘right-thinking’ people? A political majority? Some transcendent source?

As this blog has often noted, such secular idealism can lead to an ever-expanding list of human-rights, demands, and obligations; these in turn leading to rather sclerotic, over-promising, under-delivering, deeply indebted European states and poorly functional international institutions (also the kind produced by Hegelian Conservatism). It can also produce a kind of liberal bien-pensant worldview, which can catch a radical cold every now and again, but which generally supports political leaders claiming such ideals and causes. Oh yes, most folks nowadays believe we’re progressing, but where was that we were progressing to, exactly? How do you know this to be true?

Many Christians in the West tend to see such secular idealism and humanism as being birthed from Christianity, and as being unmoored from the duties and obligations that come with religious belief in a transcendent God. People haven’t changed that much, after all, nor has human nature, they often subtly argue, pointing out the many consequences such secular humanist claims have in the world by placing all kinds of laws, duties, and obligations upon us all.

Ross Douthat made similar arguments some years ago while promoting his book ‘Bad Religion:

‘…what is the idea of universal human rights if not a metaphysical principle? Can you find universal human rights under a microscope?

===============

As previously posted:

Part 10 of a discussion between Douthat and Will Saletan here.

Natural law, Christian theology and metaphysics meet liberalism, gay rights, and a more rights-based definitions of liberty. Saletan and Douthat are discussing Douthat’s new book Bad Religion and having a back and forth.

Douthat puts forth the following:

‘Indeed, it’s completely obvious that absent the Christian faith, there would be no liberalism at all. No ideal of universal human rights without Jesus’ radical upending of social hierarchies (including his death alongside common criminals on the cross). No separation of church and state without the gospels’ “render unto Caesar” and St. Augustine’s two cities. No liberal confidence about the march of historical progress without the Judeo-Christian interpretation of history as an unfolding story rather than an endlessly repeating wheel’

Perhaps modern American liberalism can claim other roots for itself. Here’s a quote from Leo Strauss, who has influenced American conservative thought heavily:

“Strauss taught that liberalism in its modern form contained within it an intrinsic tendency towards extreme relativism, which in turn led to two types of nihilism. The first was a “brutal” nihilism, expressed in Nazi and Marxist regimes. In On Tyranny, he wrote that these ideologies, both descendants of Enlightenment thought, tried to destroy all traditions, history, ethics, and moral standards and replace them by force under which nature and mankind are subjugated and conquered. The second type – the “gentle” nihilism expressed in Western liberal democracies – was a kind of value-free aimlessness and a hedonistic”permissive egalitarianism”, which he saw as permeating the fabric of contemporary American society.”

And another quote on Strauss, which seems more compelling to me:

“As Strauss understood it, the principle of liberal democracy in the natural freedom and equality of all human beings, and the bond of liberal society is a universal morality that links human beings regardless of religion. Liberalism understands religion to be a primary source of divisiveness in society, but it also regards liberty of religious worship to be a fundamental expression of the autonomy of the individual. To safeguard religion and to safeguard society from conflicts over religion, liberalism pushes religion to the private sphere where it is protected by law. The liberal state also strictly prohibits public laws that discriminate on the basis of religion. What the liberal state cannot do without ceasing to be liberal is to use the law to root out and entirely eliminate discrimination, religious and otherwise, on the part of private individuals and groups.”

I’m more interested in the many people who are claiming that more freedom is necessary to reach a liberal ideal as they go about extending it to another group of people. They aren’t just asking for a little more freedom, for as we humans do, they are striving to make their ideal the highest thing around, as well as a source for the laws, and a way to organize people and a path to political power and influence. That seems to be part of the deal, but rarely discussed and I think should be open for debate a la Strauss. Christianity certainly has a lot of experience in that realm.

Related On This Site: While politically Left, Slate used to be a bit edgy, thoughtful, occasionally more of a haven for artists, writers, creative thinkers and iconoclasts (Christopher Hitchens was a good example). At least Saletan thinks pretty deeply From Slate: William Saletan’s ‘White Men Can’t Jump’

Douthat’s The Grand New PartyRoss Douthat At First Principles: ‘The Quest for Community in the Age of Obama: Nisbet’s Prescience’

Nussbaum argues that relgion shouldn’t be a source for the moral laws From The Reason Archives: ‘Discussing Disgust’ Julian Sanchez Interviews Martha Nussbaum…More on Strauss as I’m skeptical of his hermeticism and his strong reaction to Nietzsche and some things he may have missed about the Anglo tradition: From Philosophy And Polity: ‘Historicism In German Political Theory’From The Selected Writings By And About George Anastaplo: ‘Reason and Revelation: On Leo Strauss’

How does Natural Law Philosophy deal with these problems, and those of knowledge?

Repost-Some People In New York Are At The Center Of The Universe-A Few Links

***A lot of re-posts lately. Busy at work. If you have any questions, drop me a line.

From a reader: The New York Observer-The Trial Of Ryder Ripps: ‘An Embattled Artist On Haters, Angry Muses, And Threats:

One brander calling out another in the marketplace in a bid for fame, celebrity and self-promotion?:

‘The show is called “Ho,” as all the paintings are based on Instagram posts from the feed of model Adrienne Ho—the self-curated building blocks of her own personal brand—and to see the huge diptychs in person, the torrent of bilious blog posts hellbent on exposing Mr. Ripps as a misogynist, seems a little overblown. They’re just oil works on square canvas, but I was a tad surprised at how skillful they were, given that my exposure to Mr. Ripps had thus far been through the ad campaigns of his design firm, his internet hijinks, and his collaborations with fashion designers like Nicola Formichetti and rap producers like Mike Will Made It. Not through painting.’

Where post-pop, (some) art history and theory, meets coding and game design, meets post-Koons art marketeering?

Some people from Jeff Koons’ workshop were involved with the oil paintings.

Robert Hughes really didn’t like the lack of acquired skill and mastery of materials many moderns lack.

There have been a lot of virulent reactions to ‘modern’ life and technology ranging from utopian futurism to nihilism to consumerism and a kind of dejected anti-consumerism and spiritual malaise.

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Camille Paglia wants to tilt the culture more towards art education, but manages to resist the more virulent strains of secular ideology filling the modern hole, pushing back against the radicalism of feminist ideology when it encroaches upon aesthetics:


Hughes wrote a review for Time entitled the “Princeling Of Kitsch.”

As previously posted, The Critic Laughs, by Hamilton:

The modern doubt, ironic detachment and profound unease:

Beauty is no quality in things themselves, it exists merely in the mind which contemplates them; and each mind perceives a different beauty.

David Hume

Repost: Some Monday Modernist Links-Empire State Plaza Again

Full post here (from Althouse, with photos).

It looks like the ‘International Power Style’ of the 50’s and 60’s landed its mothership in downtown Albany. I appreciate Robert Hughes’ near hyperbole in describing the Empire State Plaza:

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What if there was a Wisconsin motor court/supper club with global ambitions? What if you fused a local motel with the U.N. internationalist style, you ask?

Click here to experience ‘The Gobbler.

After taking the photo tour, I remain convinced that ‘The Gobbler’ exists in its own realm of awesome badness. Such a shag-covered, abandoned love-child of the late 60′s and early 70′s is challenging just what I thought I knew about American culture.

———————-

Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:

The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place’

They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City

Check out the ‘Socialist Cybernetics‘ of Salvador Allende.

In working towards a theme, check out Buzludzha, the abandoned communist monument in Bulgaria’s Balkan mountains, which still draws up to 50,000 Bulgarian Socialists for a yearly pilgrimage. Human Planet’s Timothy Allen visited the structure in the snow and took some haunting photos. You will think you’ve stepped into a Bond film and one of Blofeld’s modernist lairs, but with somewhat Eastern Orthodox tile frescos of Lenin and Marx gazing out at you, abandoned to time, the elements and to nature.

Repost: One More Revolution-Venezuela, New Yorkers, And Visions Of Ideal Societies

Alas, the New Yorker had been having to come to terms with the mess in Venezuela…:

Sometimes I find myself wondering how the mission of supporting the arts and experimental literature got mixed-up with such political ideas over at the New Yorker (well-educated readers, aesthetes, writers, cultural critics etc) who seem to be viewing the failures of Venezuela from a very foggy Overton window indeed.

Part of this is due to the institutionalization and white-washing of the activities of many radicals and would-be radicals, revolutionaries and would-be revolutionaries from the late 60’s onwards here in the U.S. Organizations like the Weathermen talked something of a game: Appealing to the injustice of the draft while protesting the Vietnam War and aiming for ‘pure’ majoritarian democracy, but such appeals couldn’t mask the necessity of making criminal political bedfellows, spouting violent rhetoric and even devolving into terrorism and murder in the name of their ideas.

Okay, maybe it’s pretty simple…:

Here’s one senior New Yorker editor, Hendrik Hertzberg, discussing years ago how to abolish the Electoral College, arrive at a National Vote (to better serve the People, of course) and enact ‘democratic change.’

This strikes me as in-line with much Left and Left-liberal majoritarian populism. activism and softly (ultimately hard) radical change.

More on Venezuela:

Thanks to the New Criterion, they’ve recycled an Anthony Daniels (Theodore Dalrymple) review of two books on the subject:

Man is born rich, but almost everywhere is poor:’

A response to one of my comments found on Alexandria, where I used to blog, on Hugo Chavez:

‘Chavez is actually not an orthodox Marxist in the sense that Marx would have recognized (which was why I linked to the sort of Marxist ‘prophecy’ of people like Chavez from the ‘Eighteenth Brumaire’). Chavez is more along the lines of what traditional Marxists referred to as ‘Bonapartist’ (borrowing from the figure of Napoleon Bonaparte). The whole theory on which Chavez based his political life was that the working class (or what passed for it, in a country like Venezuela) *could not* make a revolution on its own, and that someone else (the military and the Socialist Party, led by him) needed to make the revolution for them. For the very reasons that Bourdieu and Marx hint at in the quotations above. A ‘revolution from above’, in other words.

Where Chavez (and a number of other left-wing Latin American strongmen over the last century) departed radically from orthodox Marxist theory, is that Marx saw Bonapartism as essentially a conservative (thought not a bourgeois) strategy, by which military cliques delude the poor into supporting them, by promising to protect them against the bourgeoisie, and using paternalistic rhetoric. Chavez is, of course, a man of the left, as was his political inspiration, the mid-20th century Peruvian leader General Velasco. Marx seems to have been wrong about ‘revolutions from above’: sometimes they can be genuinely left-wing, and in a lot of cases (including Venezuela) they’re the only serious left-wing option on offer.’

Christopher Hitchens at Slate-Hugo Boss:

‘The boss loves to talk and has clocked up speeches of Castro-like length. Bolívar is the theme of which he never tires. His early uniformed movement of mutineers—which failed to bring off a military coup in 1992—was named for Bolívar.’

If we’re going to have a chattering class of middlebrow know-nothings, can we at least ask they know the right somethings?:

—————–

It’s a long way out of socialist and revolutionary solidarity, which continually occupies the South American mind. One more revolution: Adam Kirsch takes a look at Mario Vargas Llosa. The Dream Of The Peruvian.

From The Outside Peering In-A Few NYC Words, Images & Hearsay

Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum’s ‘Subway (NYC subway during the 1980’s).

Recommended.

Was a subway ride in the early 1980’s really that wild, violent, dirty and dangerous?  Why am I taking such pleasure in the beauty of the images?

NYC holds a place in many, many people’s minds (mine included); however small a place and however much based upon words, images, and hearsay.

February

A chimney, breathing a little smoke.
The sun, I can’t see
making a bit of pink
I can’t quite see in the blue.
The pink of five tulips
at five p.m. on the day before March first.
The green of the tulip stems and leaves
like something I can’t remember,
finding a jack-in-the-pulpit
a long time ago and far away.
Why it was December then
and the sun was on the sea
by the temples we’d gone to see.
One green wave moved in the violet sea
like the UN Building on big evenings,
green and wet
while the sky turns violet.
A few almond trees
had a few flowers, like a few snowflakes
out of the blue looking pink in the light.
A gray hush
in which the boxy trucks roll up Second Avenue
into the sky. They’re just
going over the hill.
The green leaves of the tulips on my desk
like grass light on flesh,
and a green-copper steeple
and streaks of cloud beginning to glow.
I can’t get over
how it all works in together
like a woman who just came to her window
and stands there filling it
jogging her baby in her arms.
She’s so far off. Is it the light
that makes the baby pink?
I can see the little fists
and the rocking-horse motion of her breasts.
It’s getting grayer and gold and chilly.
Two dog-size lions face each other
at the corners of a roof.
It’s the yellow dust inside the tulips.
It’s the shape of a tulip.
It’s the water in the drinking glass the tulips are in.
It’s a day like any other.

James Schuyler

For the people who live there, I imagine, it must just be life.  Maybe lives burned through a little more quickly and intensely.

A forest of skyscrapers:

Excuse me while I project more of my own subjectivity onto the place.

Brooklyn was over years ago?

First the Beats, then the Hippies, then came the Hipsters?

You know, the Bonfire Of The Vanities was about very similar circumstances: The satire of the liberal intelligentsia is pretty rich, as well as the Southern Gentleman’s WASP ‘rejuvenation.’ You just know Christopher Hitchens had to get-in on that action:

From the Late Show in 1989 with Howard Jacobson.

New York City is unlike most other places in America.  Was Tom Wolfe seeing things clearly, as they really are?

As posted: Maybe some deeper currents from Romanticism to Modernism to Postmodernism are worth thinking about. As I see things, many people who care deeply about the avant-garde also can bind themselves to ever narrower political and ideological commitments.

The journey of The Western Self bears proper care.

According to some folks at The New Yorker magazine, the only answer to injustice is radical and revolutionary equality.

To be fair, the logic embedded within much radical chic usually reveals itself to be cool at first, the same old murderously bad doctrinaire utopianism a little later on:

Avant-garde to avant, huitard?

Not the ‘right’ kind of emptiness for Richard Brody, at The New Yorker, in Todd Phillips’ ‘The Joker.’

“Joker” is an intensely racialized movie, a drama awash in racial iconography that is so prevalent in the film, so provocative, and so unexamined as to be bewildering.’

Brody’s review is as much about historical events (The Central Park Five), and moral judgments surrounding these historical events (racist and nothing else, Trump is horrible) as it is about the movie.

Apparently graffiti art does have a price, and it may be much more than $$$:

Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.

Would you be willing to undermine property-rights and the rule-of-law?

NY Curbed had original 5Pointz coverage here.

A NY Times beat reporter shared in the suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.

‘One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.

“Heartbreaking,” he said. “This is not just about graffiti — it’s about the unity of people who met here from all over the world.” He paused and took a drink. “That’s what really hurts.”

Three photos and some backstory here. 5pointz had become something of a graffiti mecca, arguably more than the sum of its parts:

Once the real-estate market began heating-up in NYC, Wolkoff decided to whitewash his building overnight..

Every bit of graffiti scrawled there over 40-years was at his discretion.

Personally, I don’t take pleasure in the erasing of people’s hard work and creativity, nor in the breaking-up of a graffiti-collective which traveled far and wide to get to 5pointz, nor even in the iconic stature they gave the place, but David Thompson sums it up pretty well:

‘The moral of the story, gentlemen, is buy your own canvas’

The pathos in the Times article stops short of a familiar ‘art will unite all races, classes, & genders,’ type of Leftist political ideology.

I”m getting a sense that even should graffiti become a longer-lasting vehicle for artistic expression, beyond the street, it likely began for many non-taggers possibly in affect, driven by ideology, or the boredom and rebellion of the suburbs and people looking for some meaning in their lives.

What are they overlooking? What are they looking for? What do the people looking at the work might think they’re looking at?

Or perhaps it would have been better to celebrate the way street-culture and graffiti has interacted with money and market forces through tourism. 5pointz arguably was a tourism draw.

From The Times piece:

‘Though street art is meant to be temporary, 5Pointz became known as a graffiti museum. And the medium itself, once considered a symbol of urban unraveling, became a sought after gallery-worthy commodity, with work from street artists like Banksy commanding millions of dollars. Which is one of the reasons the whitewashing of 5Pointz’s walls was greeted with such vociferous dismay. “What?! What did they do?!” cried a tour guide named Hans Von Rittern, as he raced out of a tour bus early Tuesday, his arms wide, his face crumpling as soon as he caught sight of Ms. Flaguel. They embraced tightly and wept.’

I can think of some possible messages being sent by the law:

You don’t have to work and own something to have ownership in it (normalizing a collectivism which rejects the property-rights of others…thus your property rights as well…for what’s to stop the next guy from tagging over your tag?). Someone else owns all this building anyways, so screw him, and screw the guy who came before me too.

The value of artistic creation is yet again associated with money in the modern world (partially out of guilt, I suspect), and not so much with self-expression, technique, craft, freedom, and moments which can elevate and expand, offering meaning within a process.

The criminality associated with graffiti is also tactily rewarded/overlooked by a court of law (there are real victims to the kinds of activity that can accompany tagging). I would much rather have lawmakers and law enforcers hold a simple line, rather than set the wrong incentives.

It can’t have been a good day for those who lost something. It’s hard out there.

Here’s a video:

More broadly, romanticizing the logic of the street, and taggers, comes with its own risks. Celebrate the spirit of creative lawlessness and turf warfare with the full acceptance that there ain’t much law involved. I’m sure 5pointz served as an escape, and a positive environment for many, but all the other things going on in these neighborhoods aren’t so uplifting, hence, it’s importance.

That’s right Banksy, it’s still a tagger’s world:

Related On This Site:Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’

So, You’re Telling Me What’s Cool?-Theodore Dalrymple At The City Journal: ‘Banksy In Neverland’

Trading Robert Moses for Brailia…an authoritarian streak?: Brasilia: A Planned CityAnd AestheticsRoger Scruton In The City Journal: Cities For Living–Is Modernism Dead?

Under A Green Moon-Ira Stoll At The New York Sun: ‘Comma in the New Yorker Opens Up Quite a Vista Of Liberal Parochialism’

From The New Yorker: ‘Writing Powered By Amtrak’

The Only Post That Yielded Much In The Way Of ‘Halloween’ On This Site-Happy Halloween

Detroit Nocturne‘ found here. Via Mick Hartley.

I’m partial to ‘Joey’s Meatcutter Inn, Bar & Grill 2017‘:

Joey's Meatcutter's Inn, Eastside, Detroit 2017

Immediately, I think of Edward Hopper: The lonely cityscape at night or the familiar glow of gas station lights cast into the American wilderness. The eye might want to linger among the colors, shapes and clouds even though the mind knows this is pretty much an empty street in a ‘post-industrial’ zone.

Perhaps it has do with another strand of expression: The break into free verse from past forms. The move from American Romanticism to Modernism which occurred this early past century. William Carlos Williams produced many good poems from a process of earnest, scrapbook-style intensity in trying to discover, redefine, and order a new poetic form within a modern ‘urban landscape.’

The individual artist is quite alone in the task he’s set before himself, and like much of modernism, it’s a rather big task.

Pastoral

When I was younger
it was plain to me
I must make something of myself.
Older now
I walk back streets
admiring the houses
of the very poor:
roof out of line with sides
the yards cluttered
with old chicken wire, ashes,
furniture gone wrong;
the fences and outhouses
built of barrel staves
and parts of boxes, all,
if I am fortunate,
smeared a bluish green
that properly weathered
pleases me best of all colors.

No one
will believe this
of vast import to the nation

William Carlos Williams

Do you believe any of that to be of vast import to the nation? Are you no one?

Another one of Jordano’s photos which stuck out was: ‘Church Rectory With Lightning, Eastside, Detroit, 2016

https://i1.wp.com/chrisnavin.com/wp-content/uploads/2018/04/b784b-6a00d83451ebab69e201b8d2e873dc970c-pi.jpg?w=676&ssl=1

Perhaps I’m not wrong in having called Halloween horror stills and movie images to mind (it’s my mind, after all, so maybe I’m just thinking of Devil’s Night). I really enjoy the light on the dumpster and the side-front rectory wall. There seems to be a little more mood here, more drama, so maybe Edgar Allan Poe’s ‘psychological intensity,’ his surrealism, and terror are more appropriate for comparison.

Poe was a bit mad, after all, despite his fascinatingly untamed and powerful imagination. He achieved a uniqueness and completeness of vision few artists do. Maybe there’s a bit of the sullen, self-aggrandizing earnestness in him of the teenager (J.D. Salinger); the desire to shock, delight and terrify.

The mind is as though a chamber, the horror rises to fever pitch, the lush rhyme matches an increasingly desperate search for truth and beauty in the world (Poe had very much his own Romantically inspired metaphysics).

Alone

From childhood’s hour I have not been
As others were—I have not seen
As others saw—I could not bring
My passions from a common spring—
From the same source I have not taken
My sorrow—I could not awaken
My heart to joy at the same tone—
And all I lov’d—I lov’d alone—
Then—in my childhood—in the dawn
Of a most stormy life—was drawn
From ev’ry depth of good and ill
The mystery which binds me still—
From the torrent, or the fountain—
From the red cliff of the mountain—
From the sun that ’round me roll’d
In its autumn tint of gold—
From the lightning in the sky
As it pass’d me flying by—
From the thunder, and the storm—
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view—

Nice photos, Dave. Thank you.

As previously posted:

Via Curbed Detroit. (via David Thompson)

70 photos of the abandoned, foreboding Temple. Mysterious symbols and a certain sad grandeur that’s come to represent Detroit these days.

-Photographer Ben Marcin has a series called ‘Last House Standing.’ Solitary row-homes…the only ones left on the block.

From Buzzfeed: ‘Why I Bought A House in Detroit For $500:’

How did Detroit get here? Very comprehensive and easy to navigate.

More from Megan McArdle on the behavior that comes with pension bonuses.Charlie LeDuff, Detroit’s populist, citizen journalist’s youtube channel here. At least he’s sticking around.

Are you looking at beautiful photos and feeling sorry for Detroit, and yourself? See Time Magazine’s photo essay by Yves Marchand and Romain Meffre (less porn-like, more thoughtful).

Hipster hope, artists, collectivists and small business types can’t save it either: A Short Culture Wars Essay-Two Links On Detroit & ‘Ruin Porn’

GM is not a municipality, but good money got put in, probably after bad and it reeks of politics: From The Detroit News: ‘How The Treasury, GM Stock Deal Got Done’

Modernism At The Movies

You Can Have It

My brother comes home from work
and climbs the stairs to our room.
I can hear the bed groan and his shoes drop
one by one. You can have it, he says.

The moonlight streams in the window
and his unshaven face is whitened
like the face of the moon. He will sleep
long after noon and waken to find me gone.

Thirty years will pass before I remember
that moment when suddenly I knew each man
has one brother who dies when he sleeps
and sleeps when he rises to face this life,

and that together they are only one man
sharing a heart that always labours, hands
yellowed and cracked, a mouth that gasps
for breath and asks, Am I gonna make it?

All night at the ice plant he had fed
the chute its silvery blocks, and then I
stacked cases of orange soda for the children
of Kentucky, one gray boxcar at a time

with always two more waiting. We were twenty
for such a short time and always in
the wrong clothes, crusted with dirt
and sweat. I think now we were never twenty.

In 1948 the city of Detroit, founded
by de la Mothe Cadillac for the distant purposes
of Henry Ford, no one wakened or died,
no one walked the streets or stoked a furnace,

for there was no such year, and now
that year has fallen off all the old newspapers,
calendars, doctors’ appointments, bonds
wedding certificates, drivers licenses.

The city slept. The snow turned to ice.
The ice to standing pools or rivers
racing in the gutters. Then the bright grass rose
between the thousands of cracked squares,

and that grass died. I give you back 1948.
I give you all the years from then
to the coming one. Give me back the moon
with its frail light falling across a face.

Give me back my young brother, hard
and furious, with wide shoulders and a curse
for God and burning eyes that look upon
all creation and say, You can have it.

Philip Levine

Repost-A Reaction To Jeff Koons-For Commerce Or Contemplation?

Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton’s ‘The Art Instinct’

Two ways around postmodernism, nihilism?: Through postmodernism? One is Allan Bloom Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’…A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;.

Repost-Live Here And Make Honey In Nature’s Hive

James Lileks:

‘I share many of the New Urbanist ideas for cities, but I can’t cast my lot in with the group because they are screwball-daft when the subject of cars comes up, and will entertain any inconvenience as long as it’s anti-car. I don’t want to ride a got-damned bicycle to work. Most people don’t. Period.’

Woman Who Lived In A Micro-Apartment Doles Out Life Advice:’

“Living in that tiny space made my life so much bigger,” Cohen told The Post. “My book is about living the life you want in whatever size you choose — it’s not just about learning to live smaller, but smarter.”

The simple life has its appeal.

Of course, individual choice eventually comes into conflict with planned communities and group obligations, to say nothing of taxes and regulations borne by other individuals…

I’m guessing Seattle’s Yesler Terrace project is still mostly pipe-dream, but if elected, I promise a social-worker, a community garden, full kindergarten empowerment and adult employment in every cell block:

‘The new neighborhood will bring together people from many walks of life, ethnic backgrounds and income levels. Partnerships will help strengthen the social fabric of the community by providing open spaces and community centers for gathering, and programs to increase health, academic achievement and economic opportunity.’

At the New Urbanist website:

“Only when humans are again permitted to build authentic urbanism — those cities, towns, and villages that nurture us by their comforts and delights — will we cease the despoiling of Nature by escaping to sprawl.”

As previously posted:

Whatever your thoughts on sprawl, here are some of the groups, who, in my opinion, are involved:

Greens and activists who want to control and regulate the energy sector according to their understanding of nature. Or they at least will control much lawmaking and the political process through activism, while directing massive amounts of federal taxpayer money to developing this vision (chosen and controlled by politicians whom they favor). Whatever’s going on with the climate, they’re usually willing to overlook the political waste, corruption, higher costs of gas and basic services and fewer jobs that could make us like Europe, without many of the benefits.

The products of modernism and modernist architecture. Some modernists believe in utopian and semi-utopian visions of the future, or simply, a better world where people should be rounded up and live happily according the visions of a few artists, architects, and city-planners. They don’t like the suburbs too much.

Collectivists, humanists and multicultural types who like a broad, ‘equality of outcome,’ definition of democracy and believe there will be room for everyone, all races and classes, in the new urban environment (more like European social democrats) if just the right people are in charge.

Anyone with a monied, career or professional, personal or identity-based stake in this vision.

Bob Zubrin pointed out the problems of environmentalism, and the authoritarian impulses behind many environmentalist goals and methods, which I’ve applied to the urbanists in parentheses below:

After the utopian dreams fade, and when the money runs-out, you often just end-up with a movement which further Left types will use to gain leverage, as in Europe:

1. There isn’t enough to go around (suburbs waste resources like gas, electricity, and materials in addition to lost productivity and time)

2. Human nature needs to be constrained as a result (Trains, buses and bikes are the preferred method of transportation instead of cars…while apartments, co-ops and living units instead of houses in the suburbs are the places to live)

3. Someone needs to be in charge (Someone like Bloomberg, or similarly paternalistic leaders are ok as long as they line up with the message and enforce the right laws from the top down)

4. We volunteer ourselves for the job (Someone’s got to build a vision of the future, and the vision of the artist or architect, or city planners for example, may be enough for the rest of us to live in much like occurs in modernist architecture).

If you’ve been following current cultural trends, there’s been some native New Yorker pushback against the hipsters in Williamsburg. These urban dwellers often arrive from the suburbs, moving to urban centers in search of identity, group meaning, and membership with a kind of collectivist, artistic, modernist to postmodernist impulse that lines up with urbanism. They are changing our culture in many ways.

See Also: Briton Roger Scruton perhaps also wants America to be more like Europe, less rootless, wasteful, and tramping the flowers. In modernism’s place (souless airports, blank modern facades speaking only to themselves) Scruton suggests Leon Krier’s New Urbanism and a return to more Classical architecture. Repost: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?

Brasilia: A Planned City and Review Of Britain’s “Lost Cities” In The Guardian

Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’…Cities should be magnets for creativity and culture? some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’

You don’t get the progressive base without the restrictive laws…they are baby steps to paradise: Richard Epstein At Defining Ideas: ‘City Planners Run Amok’Richard Epstein At The Hoover Institution Journal: ‘Three Cheers for Income Inequality’Richard Epstein At The Hoover Institution’s Defining Ideas: ‘California’s Kafkaesque Rent Control Laws’

What if you’re economy’s already depressed? Don’t make a maze of laws and build stadiums and museums on the public dime…get new industry: From Reason: ‘Reason Saves Cleveland With Drew Carey’…Reason also suggests that if such creative/entrepenurial spirit gets off the ground, it will have to get around the public sector in Detroit. From Reason Via Youtube: ‘Is Harrisburg’s Nightmare America’s Future?’