Elite Access, Is It Good To Be Ambitious?-There Will Be Authority And There Will Be People In Charge, If There Aren’t Already, I’m Pretty Sure

Martin Gurri via Marginal Revolution:  ‘Notes From A Nameless Conference:’

Gurri offers an interesting take on matters socio-cultural:

The dilemma is that this present is defined by a radical distrust of the institutions of industrial society, and of the elites that control them, and of their statements and descriptions of reality. The conference organizers got our predicament right. At every level of contemporary social and political life, we are stuck in the muck of a profound crisis of authority.

Hmmm…:

‘The senior people, largely white and male, seemed to believe that, in punishment for the sins of their fathers, trust had fractured along identity lines.  Women today were thought to trust only women, for example.  Muslims trusted Muslims, and no one else.  Some archetypical essence of “woman” or “Muslim” made internal communications possible, and separated each group from the rest of the human race.  It was, to be sure, a disaster of biblical proportions – the story of Babel told in the times of the tweet – and it left the men in charge desperate to put forward individuals of a different sex and skin coloration, to say the things they wanted to hear.

For younger elites, trust involves a sort of cosplay of historical conflicts.  They put on elaborate rhetorical superhero costumes, and fight mock-epic battles with Nazis, fascists, “patriarchs,” slave-owners, George III, and the like.  Because it’s only a game, no one gets seriously hurt – but nothing ever gets settled, either.  Eventually, the young cosplayers must put away their costumes, take one last sip of Kombucha, and set off, seething with repressed virtue, to make money in the world as it really is.’

Previous ‘elite’ links on this site, arriving at some yet predictable, unrealized truths:  Via Marginal Revolution via American Affairs: ‘The Western Elite From A Chinese Perspective:’

Kenneth Anderson At Volokh: ‘The Fragmenting of the New Class Elites, Or, Downward Mobility

Two Kinds Of Elite Cities in America?

There are people with careers writing about elites, becoming somewhat elite themselves, which haven’t fared too well

Roger Sandall from ‘Guardianship: The Utopia Of The New Class‘ finishes with:

One remembers Weber’s epitaph for the Protestant Ethic, as he contemplated a devitalised bourgeoisie spiritlessly tending the petrified mechanism their ancestors had raised. Adapted, without apology, it might also be used to depict that petrified Utopia of the New Ruling classes of the East.

Weber:

‘Rulers without honour, administrators without heart, priests without conviction, this nullity imagines that it has attained a level of civilisation never before achieved.’

———————-

As previously posted:

Charles Murray argues that controlling the data for just for whites in America, a gap has opened up between working-class ‘Fishtown’ and professional-class ‘Belmont.’ Fishtowners have increasing rates of out-of-wedlock births and divorce, more isolation from churches, civic organizations and the kinds of voluntary associations that Murray suggests can make a life more fulfilling, regardless of income beyond certain basic needs. Fishtowners have higher incidences of drug and alcohol use and intermittent work.

Belmonters, on the other hand, are mostly college-educated and beyond, still tend to court, marry, engage in family planning and tend to stay connected with family, friends and colleagues. Folks in Belmont are still living more moderate personal lives and working to stay ahead in the changing economy through academia, the professions, government, tech, business and global business.

Being a social scientist with a more limited government/small ‘c’ conservative/libertarian worldview, Murray likely sees a smaller role for government and limited ways in which some people acting through government can actually solve problems in other people’s lives. As a contrarian social scientist in a small minority, then, he disagrees with many basic assumptions often found amongst a majority of social scientists.

Murray thus advocates for people in ‘Belmont’ to increasingly preach what they practice, to look outside the bubble of their daily lives and wealthier enclaves, and perhaps reconstitute the kinds of family and civic associations, moral virtues and opportunities for independence and success he’d like to see more broadly.

What this would look like in practice, exactly, is unclear.

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

Robert Putnam, author of ‘Bowling Alone‘, seems to agree with Murray about what much of what the data highlights: Working-class whites are behaving more like working-class non-whites, and college-educated non-whites are behaving more like college-educated whites.

Putnam also focuses more on economic factors, the decline of manufacturing and the disappearance of working-class jobs that has without question affected large parts of America and small-town life. Globalization has opened American firms to global competition, global capital markets and mobile labor. Whatever your thoughts on race, Putnam creates some daylight between the data and strictly race based interpretations (often aligned with ideology, especially in academia nowadays) and focuses more on ‘class’ in a way slightly differently than does Murray.

An interesting discussion, in which the empirical research of social science can highlight important differences in political philosophy and try and transcend the inevitable political and ideological battles of the day.

Just thought I’d Throw This In There:

An interesting take from Slate Star Codex-‘The APA Meeting: A Photo-Essay:’

There’s a popular narrative that drug companies have stolen the soul of psychiatry. That they’ve reduced everything to chemical imbalances. The people who talk about this usually go on to argue that the true causes of mental illness are capitalism and racism. Have doctors forgotten that the real solution isn’t a pill, but structural change that challenges the systems of exploitation and domination that create suffering in the first place?

No. Nobody has forgotten that. Because the third thing you notice at the American Psychiatric Association meeting is that everyone is very, very woke.

This reminds me of a poem by Robert Pinsky, entitled ‘Essay On Psychiatrists’

V. Physical Comparison With Professors And Others

Pink and a bit soft-bodied, with a somewhat jazzy
Middle-class bathing suit and sandy sideburns, to me
He looked from the back like one more professor.

And from the front, too—the boyish, unformed carriage
Which foreigners always note in American men, combined
As in a professor with that liberal, quizzical,

Articulate gaze so unlike the more focused, more
Tolerant expression worn by a man of action (surgeon,
Salesman, athlete). On closer inspection was there,

Perhaps, a self-satisfied benign air, a too studied
Gentleness toward the child whose hand he held loosely?
Absurd to speculate; but then—the woman saw something.

 

Repost-Via C-SPAN-The Historical Context Of Allan Bloom

Click here.

Thanks to a reader.

Quite a varied discussion on Bloom’s surprise 1987 bestseller: ‘The Closing Of The American Mind

Does rock/popular music corrupt the souls of youth in preventing them from evening-out the passions; from pursuing higher things that a quality humanities education can offer?

Might such a lack allow political ideology to offer young people something to do, something to be, and something of which to be a part?

A questioning of premises, with varied disagreement, including that from an Emersonian.

Related On This Site:

Heather McDonald At The WSJ: ‘ The Humanities Have Forgotten Their Humanity’

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

Repost-From Darwinian Conservatism: ‘Nietzsche–Aristocratic Radical or Aristocratic Liberal?’

-Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’

Various Products Of Radical Reason And Reactions To Them- John Gray At The New Statesman

Tuesday Poem-Wallace Stevens & Some Quotes, Links & Thoughts

Six Significant Landscapes

I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.

II
The night is of the colour
Of a woman’s arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.

III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.

IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.

V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.

VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses
As, for example, the ellipse of the half-moon
Rationalists would wear sombreros.

Wallace Stevens

I quite like this one.  Perhaps it’s because of what I see as a Romantic sensibility fitted to imagistic purpose.

As to that final stanza: That’s a lot of very lush language to describe what are, to my mind, very visual-field, mathematical concepts.  Stevens was a poet of lush language, celebrating it like the old dandy he was, but also translating the Romantic arrangment of language to the spare, image-based aims of modernism.  Make it new and strip it down.

Perhaps, this is more the tension occurring here rather than that of a frustrated mathematician.

I’ll try and stir the pot a bit:

‘…modern rationalism is what commonplace minds made out of the inspiration of men of discrimination and genius.’

Oakeshott, Michael. Rationalism In Politics And Other Essays. Indianapolis: Liberty Fund, 1991. Print. Pg 6.

One might ask what kind of genius?  Artistic, linguistic and poetic? Or rather mathematical and physical?  Parts of this debate could be said to stretch back to the Greeks, at least.  They exist [such debates] all around us today, within our universities, politics and lives.

Personally, I’m reminded of many modern debates over reason, what it can do , what it can’t, and also many rationalist/anti-rationalist reactions to it.

The Romantic impulse generally involves a return to Nature and the countryside, away from civilization.  The poet and the artist also invite one back to one’s own sense experience anew; the ambitious attempting to celebrate the emotions and grand themes without a hint of irony (love, death, war).

At least, many try and show us as we are and can be to ourselves.

But, this is also having some downstream effects, at least in German theory: Tom Wolfe on Max Weber on one conspicuous use of art in the ‘modern’ world:

aesthetics is going to replace ethics, art is going to replace religion, as the means through which educated people express their spiritual worthiness…

The first modern?

Full slide show here.

“Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.”

See Also On This Site: Goya’s Fight With Cudgels and Goya’s Colossus. A very good Goya page here.

Repost-The Cresting Of A Hipster Wave?-From The New York Observer: ‘Brooklyn Is Now Officially Over: The Ascendance of Brooklyn, the Lifestyle, Above All Else’

Full piece here.

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

For many years now, parts of Brooklyn seemed to have become a beacon for people involved in a restless search for culture and authenticity, group-membership and belonging, identity and some sense of purpose. This seems to be in addition to all the other job/career/immigration/mating reasons people have typically moved there.

It used to be a place where working-class people could afford a house.

Mind you, no one ever put-up a neon-sign over Brooklyn, flashing away into the night and visible from the suburbs (unless it was probably done ironically, mocking the ‘crass commercialism’ of a ‘bygone’ and fetishized era), but there have been some interesting demographic shifts going on. The words ‘community’ and ‘craft,’ ‘artisanal’ and ‘fair trade’ get thrown around a lot.

Have hipsters become part of the fabric of the city?

Here’s an interesting piece from Christy Wampole At The Ny Times ‘How To Live Without Irony:’

‘The hipster haunts every city street and university town. Manifesting a nostalgia for times he never lived himself, this contemporary urban harlequin appropriates outmoded fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles, portable record players) and hobbies (home brewing, playing trombone). He harvests awkwardness and self-consciousness. Before he makes any choice, he has proceeded through several stages of self-scrutiny. The hipster is a scholar of social forms, a student of cool.’

Christian Lorenzten has a less flattering take, in order to get at a more pure definition of ‘cool’:

Under the guise of “irony,” hipsterism fetishizes the authentic and regurgitates it with a winking inauthenticity. Those 18-to-34-year-olds called hipsters have defanged, skinned and consumed the fringe movements of the postwar era—Beat, hippie, punk, even grunge. Hungry for more, and sick with the anxiety of influence, they feed as well from the trough of the uncool, turning white trash chic, and gouging the husks of long-expired subcultures—vaudeville, burlesque, cowboys and pirates.

Of course, hipsterism being originally, and still mostly, the province of whites (the pastiest of whites), its acolytes raid the cultural stores of every unmelted ethnicity in the pot.

(Addition: Of course his version of ‘authentic’ seems to be that hipsters haven’t thankfully gone full Lefty).

Below are the Mast brothers, taking that hipster ethos into the business and branding of themselves as chocolate-makers, along with an entirely ‘old-timey’ aesthetic. Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson:

——————–

It seems the tide may already have receded a bit.

From the Observer:

‘Economic bifurcation has increasingly divided a borough known for its vibrant blend of cultures, classes and races into two different worlds, each with its own set of schools, stores restaurants and bars, with those at the bottom receding from the larger consciousness of Brooklyn identity to the degree that The Wall Street Journal recently labeled Bed-Stuy’s “underserved” those who could not, until now, find a craft beer for under $7. ‘

Has the hipster been good for Brooklyn?

That’s debatable, and it depends on just who we’re talking about. I’m guessing the local anti-hipster perspective found at DieHipster.com represents genuine sentiment and grievance: Their Brooklyn has become a playground for extended childhood. Rents get raised. Locals are pushed-out and overrun. The area gentrifies and can actually become more divided. For all the talk of ‘community’ and ‘authenticity,’ there’s a surprising (or unsurprising, really) naive idealism and post-Boomer narcissism, self-regard, and self-interest amongst the hipster crowd.

All politics is local, and it’s playing out in Brooklyn.

Is the hipster good for free markets?

Theses are some pretty vague terms I’m throwing around. Obviously, some folks are, and Whole Foods is a good example, but I wonder about the creep of collectivism and communalism into the culture more generally.

Here’s a quote I put up before.

The late Jacques Barzun at The American Scholar-’The Cradle Of Modernism‘:

‘For yet another cause of unhappiness was the encroachment of machine industry and its attendant uglification of town and country. The Romanticists had sung in an agrarian civilization; towns were for handiwork and commerce. Industry brought in not factories only, and railroads, but also the city — slums, crowds, a new type of filth, and shoddy goods, commonly known as “cheap and nasty.” And when free public schools were forced on the nation by the needs of industry, a further curse was added: the daily paper, also cheap.’

*I’m aware that this type of cultural criticism and/or ‘sociological analysis’ is often done by those typically invested in abstract categories of ‘culture’ about which I remain skeptical.

**No, I’m not from Brooklyn, and can make no particularly persuasive claims upon it.

Related On This Site: Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Well, art doesn’t need to be in service of a socialist vision, but it can: Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Hipster Romanticism?-From The Atlantic Photo: ‘Adventures Of A Serial Trespasser’

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’

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

Slight Update & Repost-Hipster Romanticism? From The Atlantic Photo: ‘Adventures Of A Serial Trespasser’

Photos here.

Isn’t ‘urban exploration’ a bit ruin-pornish?

The individual travels along with small groups, trespassing through city-scapes and abandoned buildings as though they were archeological ruins. Breaking the law or possibly breaking the law is part of the appeal.

Perhaps such folks are traveling as well through their own imaginations, romanticizing themselves as transgressive outsiders, taking the idea of archeology as fixed knowledge and applying it to their own present as though it were a mythic, imaginative quest, where some camaraderie, historical meaning and beauty are to be found.

A video explanation:

————————-

Naturally, one impulse expressed here is the desire for group membership and meaning. Like kids who’ve found something new and cool to do, some recognition is desired from others or from society at large, even if it’s negative. There’s a vagabond-hipster feel to much of this, and it’s easy to imagine listening to an indie-music-montage with the latest stop-motion technology or documentarianism when one looks at the photos.

Readers will know I tend to think some of this is a sign of a newer, more anarchic/nihilistic individualism and subsequent collectivism bubbling up in our culture that is partially, but not wholly, a product of the 1960’s.

Maybe.

One theme of this blog is how this process of increased nihilistic individualism merges with a search for meaning, group membership and identity in our culture, as in the above. This can increase the desire for collective solutions to problems, or at least, might encourage more young people to cast a skeptical eye on rule and rule-following within existing traditions.

Don’t you want to live in Austin, or Boulder, or Portland, or Williamsburg, Brooklyn?

Don’t you want to live and compete with the best in an outward facing American city like San Francisco or New York, or maybe even an international city if you can manage it?

Don’t you want to live in Salt Lake City, or some small town with a church and organized civic life?

Are you still looking for America?

James Fallows at the Atlantic, former speechwriter for Jimmy Carter, explored the wonders of post-hippie settlers in Vermont to stay relevant to a new generation of readers: Vermont Report: Shaping The Soul Of A School.

Tim Carney says towns and cities (both religious and not) with strong civic institutions voted in much smaller numbers for civic nationalism and Trumpian populism.

I didn’t know schools had souls.

Until then, you can catch me at the next radical Quaker flower protest:

Related On This Site:What about the victims of crime, not all this romanticization of criminals?: Heather MacDonald At The City Journal: ‘Radical Graffiti Chic’.

Two ways around postmodernism, nihilism?: One is Allan Bloom Update And Repost: ‘A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection’… Here’s a suggestion to keep aesthetic and political judgements apart-Roger Scruton In The American Spectator Via A & L Daily: Farewell To Judgment

Institutionalized Leftism in the Arts has a longer, deeper history in the U.S.: From ReasonTV Via Youtube: ‘Ken Burns on PBS Funding, Being a “Yellow-Dog Democrat,” & Missing Walter Cronkite’Repost-From NPR: Grants To The NEA To Stimulate The Economy?

Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Repost-Roger Sandall At The New Criterion Via The A & L Daily: ‘Aboriginal Sin’

Full piece here.

Sandall took a look at how Australia’s been dealing with the native population, and argued that there is a lot wrong with the current situation:

“Fifty years ago, the Australian Left strongly favored literacy, health, and the assimilation of indigenes. It was a broadly sensible goal. But Left progressivism is incompatible with the romantic idealization of hunting and gathering: the one wants to go forward, the other wants to go back. As anthropological romanticism triumphed in the sphere of social policy, the Left embraced “Aboriginality” over literacy and vocational skills, assimilation was denounced as supremely evil, and Australia’s northern indigenes began their slide into the oblivion of fixed dependency—illiterate, vocationally disabled, desperately in need of help.”

Now morally, if you extend concern toward the native tribes of North America you might disagree with their treatment at the hands of many a pioneer, settler, rancher and the U.S. Army.  The forced migration and stories you’ll hear are not morally uplifting, to say the least.  They can be quite awful.   But you might also find that a move leftward socially (despite some arguable rewards and benefits to Natives from multiculturalism) is not nearly as good enough reason to scrap personal responsibility, a larger and more free economy (so that people may work and live alongside one another), nor your ability to choose to whom you extend moral concern.

The myth of the Noble Savage, and the sentiment directed at natives can often make things worse.  Of course, one current American solution is to include natives in our economy (federally mandated casinos).

Feel free to highlight my ignorance and share any thoughts.

Also On This Site:  Roger Sandall: Marveling At The Aborigines, But Not Really Helping?

Did Jared Diamond get attacked for not being romantic enough…or just for potential hubris?:  Was he acting as a journalist in Papua New-Guinea?:  From The Chronicle Of Higher Education: Jared Diamond’s Lawsuit

One of the few people who might be considered left who’s thought deeply about the matter.  Religion has a fair amount to do with it:  Repost: Martha Nussbaum Channels Roger Williams In The New Republic: The First Founder


by NichK

The Mohegan Sun Casino

Repost-The Cresting Of A Hipster Wave?-From The New York Observer: ‘Brooklyn Is Now Officially Over: The Ascendance of Brooklyn, the Lifestyle, Above All Else’

Full piece here.

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

For many years now, Brooklyn seems to have become a beacon for people involved in a restless search for culture and authenticity, group-membership and belonging, identity and some sense of purpose. This seems to be in addition to all the other job/career/immigration/mating reasons people have typically moved there.

It was a place where working-class people could afford a house.

Mind you, no one ever put-up a neon-sign over Brooklyn, flashing away into the night and visible from the suburbs (unless it was probably done ironically, mocking the ‘crass commercialism’ of a ‘bygone’ and fetishized era), but there have been some interesting demographic shifts going on. The words ‘community’ and ‘craft,’ ‘artisanal’ and ‘fair trade’ get thrown around a lot.

Have hipsters become part of the fabric of the city?

Here’s an interesting piece from Christy Wampole At The Ny Times ‘How To Live Without Irony:’

‘The hipster haunts every city street and university town. Manifesting a nostalgia for times he never lived himself, this contemporary urban harlequin appropriates outmoded fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles, portable record players) and hobbies (home brewing, playing trombone). He harvests awkwardness and self-consciousness. Before he makes any choice, he has proceeded through several stages of self-scrutiny. The hipster is a scholar of social forms, a student of cool.’

Christian Lorenzten has a less flattering take, in order to get at a more pure definition of ‘cool’:

Under the guise of “irony,” hipsterism fetishizes the authentic and regurgitates it with a winking inauthenticity. Those 18-to-34-year-olds called hipsters have defanged, skinned and consumed the fringe movements of the postwar era—Beat, hippie, punk, even grunge. Hungry for more, and sick with the anxiety of influence, they feed as well from the trough of the uncool, turning white trash chic, and gouging the husks of long-expired subcultures—vaudeville, burlesque, cowboys and pirates.

Of course, hipsterism being originally, and still mostly, the province of whites (the pastiest of whites), its acolytes raid the cultural stores of every unmelted ethnicity in the pot.

(Addition: Of course his version of ‘authentic’ seems to be that hipsters haven’t thankfully gone full Lefty).

Below are the Mast brothers, taking that hipster ethos into the business and branding of themselves as chocolate-makers, along with an entirely ‘old-timey’ aesthetic. Few chocolate-makers take pains to mention Mark Twain & Ralph Waldo Emerson:

——————–

It seems the tide may already have receded a bit.

From the Observer:

‘Economic bifurcation has increasingly divided a borough known for its vibrant blend of cultures, classes and races into two different worlds, each with its own set of schools, stores restaurants and bars, with those at the bottom receding from the larger consciousness of Brooklyn identity to the degree that The Wall Street Journal recently labeled Bed-Stuy’s “underserved” those who could not, until now, find a craft beer for under $7. ‘

Has the hipster been good for Brooklyn?

That’s debatable, and it depends on just who we’re talking about. I’m guessing the local anti-hipster perspective found at DieHipster.com represents genuine sentiment and grievance: Their Brooklyn has become a playground for extended childhood. Rents get raised. Locals are pushed-out and overrun. The area gentrifies and can actually become more divided. For all the talk of ‘community’ and ‘authenticity,’ there’s a surprising (or unsurprising, really) naive idealism and post-Boomer narcissism, self-regard, and self-interest amongst the hipster crowd.

All politics is local, and it’s playing out in Brooklyn.

Is the hipster good for free markets?

Theses are some pretty vague terms I’m throwing around. Obviously, some folks are, and Whole Foods is a good example, but I wonder about the creep of collectivism and communalism into the culture more generally.

Here’s a quote I put up before.

The late Jacques Barzun at The American Scholar-’The Cradle Of Modernism‘:

‘For yet another cause of unhappiness was the encroachment of machine industry and its attendant uglification of town and country. The Romanticists had sung in an agrarian civilization; towns were for handiwork and commerce. Industry brought in not factories only, and railroads, but also the city — slums, crowds, a new type of filth, and shoddy goods, commonly known as “cheap and nasty.” And when free public schools were forced on the nation by the needs of industry, a further curse was added: the daily paper, also cheap.’

*I’m aware that this type of cultural criticism and/or ‘sociological analysis’ is often done by those typically invested in abstract categories of ‘culture’ about which I remain skeptical.

**No, I’m not from Brooklyn, and can make no particularly persuasive claims upon it.

Related On This Site: Some Links On 5Pointz, Graffiti, & The Arts–Property Rights & The Rule-Of-Law

Well, art doesn’t need to be in service of a socialist vision, but it can: Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’

Hipster Romanticism?-From The Atlantic Photo: ‘Adventures Of A Serial Trespasser’

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’

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

Double, Double, Toil & Cuddle

You amateur cuddlers are doing it wrong!

‘Franzblau created Cuddle Sanctuary in 2014, after attending her first group cuddle event, to help others realize their own touch needs. Since the election, Cuddle Sanctuary has seen 252 new clients beginning as early as the day following the election. The usual Wednesday night cuddle workshop following the decision was dubbed “Election Detox.” Five of the 21 attendees were new.’

After reading ‘The Calm, Gentle Rise Of Cuddlers For Hire‘ in our household back in 2015 (a joke still that still runs), we knew we were on to something good.  There’s talk of technology, literature, global economics, modernity etc. all in relation to professional cuddling.  Why, you could have a day at TED focused just on professional cuddling, and maybe throw-in that guy who’s an adult baby.

As to politics:  Whatever your thoughts on Trump, I doubt it helps any elected President having to deal with the slings and arrows of outrageous infantilization. I mean, this is a President who might well respond in-kind.

When the personal gets political, politics gets personal.

To be honest: Seeking intimacy and paying money to hug strangers in a warehouse with a fair amount of new-age blather might help some people.

Using the kind of judgment I reserve for people I actually care about, however, (you know, personally) I might say something like the following:

Hey, at least you’re not paying for sex!  

No, really…you’ve got a lot to offer. Why don’t you go to meet-ups, book-clubs, take a course and start building yourself up that way?  You can do it.  Let’s grab a drink talk it out.’

A part of the piece that rung a bell:

‘Everyone should be in what Wyatt calls a “hell yes” space – that if asked for a specific touch, the reply would be a passionate OK. But more importantly, if you don’t want to partake, the word “no” should not be marred with guilt or shame.’

I’ll leave this from a post I put up about Jeff Koons, because I think it has some relevance to where parts of the ‘culture’ may be heading:

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.

Koons himself:

‘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.

Freedom is next!

***Call me old-fashioned, but you don’t earn respect from others by demanding it, and you don’t convince others of your political views by using politics to beat them into seeing the world as you do.

Or perhaps you do if you’re business model isn’t so good…

Dear Reader, what are you doing with your imagination? For a few hours, this is what I’ve done with mine.

Apparently not all cuddlers are overtly political (addition: never mind, this is the same lady as featured in the Rolling Stone piece).

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-The Duran Duran Phenomenon, High And Low Art In The Modern Anglo-Sphere

For you kids out there, Duran Duran are a band from Birmingham, England who made it big in the 80’s. They succeeded with genuine musical talent, technical and marketing prowess, a new-romantic visual-style, and presumably, somewhat deeper artistic aspirations.

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There are, no doubt, trade-offs people in the Anglosphere make, living with our particular Anglo-focus upon government, law, trade, and generally speaking, more open markets. There are reasons English is spoken so widely, after all, while the food has remained so bad.

Traveling abroad while younger, I often observed the American genius as a kind of egalitarian gathering of talent; general and specialized, ambitious and organized.

Such ‘Americanness’ can be shrewd, though it often comes with a certain optimism and idealism, for which Americans are known.

This is the stuff of American diplomacy, international lawyering, and business management. American advertising techniques, Hollywood movies, franchises like Starbucks and Apple, all can earn almost instant global recognition (if you’re not too far off the beaten path).

As an American, I claim a certain pride, here.

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That said, deeper artistic aspirations also tend to seek nourishment apart from such commercial populism and American egalitarianism in particular.

The accomplished artist probably had a lot of natural talent to begin with, but also joins in conversation with serious past talent and endures critique of his development, spends years of life engaged in hard work, and perhaps profits from greater tilt in the culture towards admiration for artists in general.

See: ‘Tradition And The Individual Talent’

This can send many American artists out on a mission to gain technique and skills elsewhere. This can fill many American cultural critics with a sense of European yearning and envy, and this can leave some Americans indulging in rather cheap, unimaginative commercialist America-bashing that usually lines-up with preconceived political/ideological commitments.

It’s here in the modern to postmodern to wherever-we’re-heading-now that, as an American, I find much of my daily life being lived.

For me and many of my fellows, the latest shows, pop-music, games and movies are the culture, even though we all have deeper ambitions and aspirations, and even if much of that culture has deeper roots of which we remain unaware.

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Here’s Robert Hughes from The Guardian on Damien Hirst: ‘Day Of The Dead’

‘If there is anything special about this event, it lies in the extreme disproportion between Hirst’s expected prices and his actual talent. Hirst is basically a pirate, and his skill is shown by the way in which he has managed to bluff so many art-related people, from museum personnel such as Tate’s Nicholas Serota to billionaires in the New York real-estate trade, into giving credence to his originality and the importance of his “ideas”. This skill at manipulation is his real success as an artist. He has manoeuvred himself into the sweet spot where wannabe collectors, no matter how dumb (indeed, the dumber the better), feel somehow ignorable without a Hirst or two.’.

I’m guessing Hughes loathed such confusion over money, art, fame, and our deepest aspirations, and thought such an approach prevents everyday people from entering into conversations with the everyday in great works of art. I find myself attracted to his marriage of Anglo-tradition and more ‘high’ European art-criticism.

For my part, I’d simply argue that more open markets in the Anglo-sphere offer a lower bar to reach a larger audience with one’s artistic ambitions. Such a marriage of art + market may be less likely to happen, in, say, Spain or France.

Perhaps this is true of Duran Duran, Damien Hirst, and various others with some natural talent and access to a wider audience through a global supply-chain.

This lower bar, in turn, can allow for perhaps more questionable art and marketing jargon; postmodern concept-shilling and various bullshit promising freedom within stale ideology and often poorly-executed art.

Or, at least, the above comes with its own Anglo-character.

(Addition: I should add that it gives more people easier access to make and gain exposure to the arts, which benefits a lot more people, but also puts the artist, and modernists, especially, in tension with the really hard task of making something beautiful which can last. Does good art have to be hard, and be made free of ‘The People?,’ or at least the passing fads, genres and styles that come and go?)

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Thanks to a reader for the link:

From The Daily Beast: ‘Get Into Bed With Tracey Emin For $2 million: The Sale Of A British Art Icon.’

“My Bed” will be sold at auction at Christie’s on July 1, and has been given an estimate price of between £800,000 and £1.2m (approximately $1.35 million to $2 million), which seems astonishingly low given the piece’s cultural impact. Indeed, David Maupin, Emin’s dealer in New York who sold the bed to Saatchi in 2000 for £150,000 (about $252,000), has said he thinks the Christie’s estimate is too low. “It’s historic. It’s priceless.”

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‘Cultural impact.’ So, a lot of people noticed it? It took a lot of technical skill? People were shocked by it? People had a strong reaction after seeing it in person?

It made her a celebrity?

I generally prefer the art dealer’s self-interested marketing bulls**t to a journalist’s ‘cultural impact’ claptrap.

Quote found here at friesian.com:

‘Oddly enough, it is the intellectual snobbery and elitism of many of the literati that politically correct egalitarianism appeals to; their partiality to literary Marxism is based not on its economic theory but on its hostility to business and the middle class. The character of this anti-bourgeois sentiment therefore has more in common with its origin in aristocratic disdain for the lower orders than with egalitarianism.’

Related: From Darwinian Conservatism: Nietzsche-Aristocratic Radical or Aristocratic Liberal?

Another pomo quote from Dr. Stephen Hicks:

‘In the shorter term, postmodernism has caused an impoverishment of much of the academic humanities, both in the quality of the work being done and the civility of the debates. The sciences have been less affected and are relatively healthy. The social sciences are mixed.

I am optimistic, though, for a couple of reasons. One is that pomo was able to entrench itself in the second half of the twentieth century in large part because first-rate intellectuals were mostly dismissive of it and focused on their own projects. But over the last ten years, after pomo’s excesses became blatant, there has been a vigorous counter-attack and pomo is now on the defensive. Another reason for optimism is that, as a species of skepticism, pomo is ultimately empty and becomes boring. Eventually intellectually-alert individuals get tired of the same old lines and move on. It is one thing, as the pomo can do well, to critique other theories and tear them down. But that merely clears the field for the next new and intriguing theory and for the next generation of energetic young intellectuals.

So while the postmodernism has had its generation or two, I think we’re ready for the next new thing – a strong, fresh, and positive approach to the big issues, one that of course takes into account the critical weapons the pomo have used well over the last while’