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’

2016 Presidential Election Results And A Repost-Ah, But Pigeons Can Shit On The Shoulders Of Statues-Gay Talese on Journalism

I take it a good many people are smart enough to think and make the best decisions possible for themselves.

Addition: Or, as a friend puts it-‘What a mess!’

These are interesting times.


As previously posted:

Gay Talese:

‘They swim in the same pools, they belong to the same clubs. Their wives and everyone goes to the same fucking cocktail parties.’

‘..And they eat these little handout stories. They’re like little pigeons eating the shit sprayed on the sidewalk from the government. They want to be in good with their sources, but they don’t even name the sources!’

Was there a time when more hard-boiled skeptics roamed the newsroom; narrative purists seeking le mot juste and the story behind the story?

‘The man who reads nothing at all is better educated than the man who reads nothing but newspapers.’

Thomas Jefferson

Perhaps there’s never really been much space for a writer’s writer, an old-fashioned craftsman looking for some interplay between light and shadow; thought, and the words on the page.

Who reads the newspapers?

Perhaps like many writers, even good-writing journalists can become bitter with age.

-The linked-to Talese piece on Frank Sinatra.

-Lawrence Wright on his book-Going Clear: Scientology, Hollywood & The Prison Of Belief. That took some balls.

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As previously posted:

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:

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Are Tom Wolfe and New Journalism seeing things clearly, as they really are?

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

Andrew Potter has his own ideas:

‘The important thing to understand about journalists is that they are the lowest ranking intellectuals. That is to say: they are members of the intellectual class, but in the status hierarchy of intellectuals, journalists are at the bottom. That is why they have traditionally adopted the status cues of the working class: the drinking and the swearing, the anti-establishment values and the commitment to the non-professionalization of journalism.’

and on professors:

The important thing to understand about academics is that they are the highest rank of intellectuals. That is why they have traditionally adopted the status symbols of the 19th-century British leisured class—the tweeds and the sherry and the learning of obscure languages—while shunning the sorts of things that are necessary for people for whom status is something to be fought for through interaction with the normal members of society (such as reasonably stylish clothing, minimal standards of hygiene, basic manners).

The ideas of original thinkers and those of thinkers in academia often trickle down into popular thought anyways, but the easy quote is often just a way to reinforce one’s own beliefs or ideology, or get a quick fix.

Also:

‘In a philosophical debate, what everyone involved is trying to get at is the truth. In contrast, what is at stake in the political realm is not truth but power, and power (unlike truth) is a “rival good”—one person or group can wield power only at the expense of another. This is why politics is inevitably adversarial. Political power is ultimately about deciding who shall govern, and part of governing is about choosing between competing interests’

***In journalists there can be the shabbiness of the second-hand, the designs of the social-climber, the self-regard of the idealist and the possibly deeper aspirations of an artist. Some are more devoted to finding truth than others.

Related On This Site: From io9 Via An Emailer: ‘Viral journalism And The Valley Of Ambiguity’

From The Nieman Lab:-An Oral History Of The Epic Collision Between Journalism & Digital Technology, From 1980 To The Present.

Charlie Martin At PJ Media: ‘Could Amazon and Jeff Bezos Make the Washington Post Profitable?’…‘Sorry, Jeff Bezos, the News Bundle Isn’t Coming Back

Michael Kinsley At The New Republic Via Althouse: ‘A Q & A With Jill Abramson’

From Slate: “Newsweek Has Fallen And Can’t Get Up”

A Few Thoughts On Blogging-Chris Anderson At Wired: ‘The Long Tail’

You could do like Matt Drudge, but the odds are stacked against you.

Ideology On Campus-Some Links

From The New Criterion: ‘Campus Inquisition:’

‘McAdams ended by observing that, “like the rest of academia, Marquette is less and less a real university. And, when gay marriage cannot be discussed, certainly not a Catholic university.’

From The FIRE blog: ‘Student Accused Of Sexual Assault Sues Brandeis For Alleged Due Process Violations’

‘Of course, how could anyone defend themselves against charges without knowing precisely what those charges are?’

As previously posted:

Camille Paglia’s piece ‘The Modern Campus Cannot Comprehend Evil’

Well, I don’t know about the whole campus, but with freedom comes responsibility.

Addition: Or as a friend puts it: Some ideologues on campus want to hermetically seal their place within it, and the campus itself, into a ‘zone’ under which they have influence, where reality and many parts of human nature can’t enter.  This is not practicable long-term.

Some people are trying to erode common sense until it becomes less common:

‘The horrors and atrocities of history have been edited out of primary and secondary education except where they can be blamed on racism, sexism, and imperialism — toxins embedded in oppressive outside structures that must be smashed and remade. But the real problem resides in human nature, which religion as well as great art sees as eternally torn by a war between the forces of darkness and light.’

Well, that’s quite a worldview, but like me, you probably agree that there are bad, possibly evil, crazy, and dangerous people among us. The kinds of extreme badness and goodness one can find in war aren’t really ever that far away.  Our knowledge and our civilization are often assumed to be less fragile than they are.

Related On This Site: Cathy Young At Minding The Campus: ‘The Brown Case: Does It Still Look Like Rape?…The Personal Ain’t Political-Holding The Line Against Rape Ideologues-Conor Friedersdorf On George Will

Christina Hoff Sommers (wikipedia) is trying to replacing gender feminism with equity feminism. She also wrote The War Against Boys: How Misguided Feminism Is Harming Our Young Men.

Are You Man Enough? Nussbaum v. MansfieldFrom The Harvard Educational Review-A Review Of Martha Nussbaum’s ‘Cultivating Humanity: A Classical Defense of Reform in Liberal Education.’

Defending Eliot Spitzer…as a man who ought to be free of prostitution laws…but didn’t he prosecute others with those same laws?: Repost: Martha Nussbaum On Eliot Spitzer At The Atlanta Journal-Constitution

A very Harvard affair: The Spelke/Pinker debate-The Science Of Gender And Science

Repost-Revisting Larry Summers: What Did He Say Again?

From FIRE.org-’Federal Government Mandates Unconstitutional Speech Codes At Colleges And Universities Nationwide’

Greg Lukianoff At FIRE.Org: ‘Emily Bazelon And The Danger Of Bringing “Anti-Bullying” Laws To Campus’

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

Full piece here.

Stoll:

‘There was a wonderful article by an editor at the magazine, Mary Norris, about commas. Wonderful, that is, until this passage, “That was during the Reagan Administration, when many of us suspected that Reagan had some form of dementia, but no one could do anything about it. The country was running on automatic.”

Such politicization can make for bad stewardship of the arts, certainly.

Perhaps New Yorker features are increasingly flogged to maintain readership in a competitive marketplace, or are being put to use for other purposes, like reaffirming political ideology and identities to signal the right beliefs and in-group/out-group loyalties.  Many of the liberal pieties can be found on display at the New Yorker.

Unsolicited advice for The New Yorker: Build a wall around your political stable, don’t bet too much on current trends and politicians, and keep other spaces free for the genuinely ‘avant-garde,’ the strange and beautiful, and biting satire when it shows-up.

As previously posted:

Adam Kirsch was not so impressed with the 2009 inauguration ceremony:

‘In our democratic age, however, poets have always had scruples about exalting leaders in verse. Since the French Revolution, there have been great public poems in English, but almost no great official poems. For modern lyric poets, whose first obligation is to the truth of their own experience, it has only been possible to write well on public themes when the public intersects, or interferes, with that experience–when history usurps privacy.’

A reader sends a link to a SF Gate review of poet Jorie Graham’s ‘Sea Change:

‘In “Sea Change,” Graham becomes Prospero, casting spells by spelling out her thoughts to merge with ours, and with the voices of the elements. The result is a mingling of perceptions rather than a broadcasting of opinions. Instead of analysis, the poems encourage emotional involvement with the drastic changes overwhelming us, overwhelm- ing the planet.’

and:

‘Strengths and weaknesses, flows and ebbs, yet every poem in “Sea Change” bears memorable lines, with almost haunting (if we truly have but 10 years to “fix” global warming) images of flora and fauna under siege. Jorie Graham has composed a swan song for Earth.’

Oh boy.

What are these poems being asked to do?

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

***Who do you trust for discussions of the arts and culture, and would you just rather publications be up front about their ideological bents and loyalties?

Repost-A Few Thoughts On NPR And Current Liberal Establishment Thinking Under Obama

Progressive Convention, 1912. Moffett Studio & Kaufmann, Weimer & Fabry Co.  Prints & Photograph Division, Library Of Congress LC-USZ62-116075
Progressive Convention, 1912. Moffett Studio & Kaufmann, Weimer & Fabry Co. Prints & Photograph Division, Library Of Congress LC-USZ62-116075

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Current liberal establishment thinking under Obama is naturally reacting to Obama’s leadership.  I’d argue that it’s getting more difficult to appreciate self-reliance as a result, and to maintain a healthy respect for the limits of government.   A healthy respect for the limits of government reflects a healthy understanding of human nature, its limitations, and the fact that all politics is local.  Power ultimately rests with “We the People,” after all.

Obama’s activist brand of local politics benefits from a lack of self-reliance in people, otherwise the need for the activist is lessened.  Activists become adept at organizing and inspiring (if not inciting) people to collective action under collectivist principles.  Once organized, the people’s interests can be aimed toward broader goals, some quite productive, but many often extracting money from businesses as well as federal and local governments.  Activists can be rabble-rousers, or they can be high-minded, but the model they’re using relies on redistributive logic (getting other people’s money redistributed to themselves and their constituents).

Political power is too easily the currency and the reward.

In the long run, obviously, there’s only so much of other people’s money to go around.  In the long run, there’s always a nagging question of how much the activist is really doing for his constituents by gaining all that political power for himself.  In the long run, we’re all more likely to have a few ruling the many under such a model, through an erosion of self-reliance.  In the long run, we’re more likely to end up in “tyranny of the majority” scenarios.

The growth of federal programs under Obama has been dramatic.  We still have many unelected czars and it looks as though Obamacare may be here to stay. Here are some IRS forms you’ll be filling out shortly.  A maze of new laws regulating the financial industry under Dodd-Frank has been signed into law, some of which have already passed costs along to the consumer.  We’ve seen the growth of the EPA and heavy regulation of the energy sector.

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I’d like to try and work towards a theme:

While still being one of the best, and most thorough, news-gathering services, NPR generally cleaves to a Left-Of-Center political philosophy.  I suspect many folks at NPR aim to be like the BBC in Britain, or the CBC in Canada:  Not only the national standard in news but perhaps the nationalized cultural gatekeepers as well.  According to their lights, they see themselves as having a duty to promote and fund the arts, education, and knowledge.

That said, NPR is guilty of what many Americans have been guilty of, something which seems to transcend politics:  They’ve followed the national greatness model and assumed that American greatness, economic dominance and good times are a guarantee.

Here are two problems with NPR’s approach:

-NPR usually puts environmental interests above business interests.

The dangers of environmental policy can be seen in California, where environmental regulations can stagnate the economy.    These policies shift the cost of land management onto individuals and landowners, while creating laws whose oversight those citizens must finance, often inefficiently through a system of taxation and regulation.  Politicos have every incentive to keep taxpayer money flowing to themselves and a few companies, pressured by the green lobby and riding waves of green public sentiment, always with an eye on reelection.  This has actively driven many individuals and families out of the state.

Perhaps even some conservationists realize that activism generally leads to big money and big politics, and that  everyday people can suffer the most, especially those who aim to be self-reliant.

Californians can leave California, but on the national level, sadly, the rest of us have few options.

-NPR has promoted multiculturalism and diversity often as the highest ideas around.

Unfortunately, multiculturalism creates a system of incentives which rewards racial and identity politics, and at its worst, a kind of modern tribalism where group membership and loyalty come first.

Identity groups can remain Balkanized, and treat the public treasury like a piggy bank, politics like a system of patronage, and the laws like bludgeons in order to gain and maintain political power.  This is especially true of big-city machine politics, where the corruption is baked-in.  Government’s the only thing we all belong todoes, in fact, reflect a gaping hole at the center of modern liberal establishment thinking.  If such thinking continues to follow Obama’s brand of activism, that hole will continue to be there.

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Monticello.  Prints & Photograph Division, Library Of Congress LC-F8-1046
Monticello. Prints & Photograph Division, Library Of Congress LC-F8-1046

In response, it might not be a bad idea to promote a more agrarian Jeffersonian liberalism instead of the California or the current NPR liberal establishment models.   It’s a little worrying that California has traditionally been a cultural bellwether for the rest of the nation.  There’s a fiscal crisis in the Golden State, and enough multiculturalism and environmentalism that Californians may well keep voting for the model until it crashes, or they are forced to act otherwise.

I’d humbly ask that Northeastern and old school Democrats, the classical liberals, the Jeffersonians, the self-reliant, and the reasonably skeptical to reconsider where the current liberal establishment is headed under an Obama administration.

It’s affecting all of us.

Addition: NPR has roots in 60’s Civil Rights activism, and thus is often most sympathetic to 60’s type coalitions of protest models including feminists, environmentalists, race and identity politickers etc. They can get criticism from their Left for being too mainstream, and they can attach these 60’s coalitions to mainstream liberalism, politics and culture. I’m guessing you’re not going to find nakedly partisan or activists behind the scenes, really, but rather people so embedded in their own worldview (that of secular liberal humanism and progress) that they presuppose such a worldview when reporting on events.

Liberal, Left-liberal and Center-Left statists are words that seem to apply.

Another addition:  I should add that I don’t believe we either can, nor should want to return to an agrarian society, but rather, contra Hamilton, we should aim for institutions that promote the individual, his family, and the free associations he makes above political activism, lobbyists, big government and big corporations in bed together, which is where ideas like environmentalism and multiculturalism most often lead.  It’s the political philosophy that lies behind, and beneath what’s become of current establishment liberal thinking in that has not yet figured out how to protect the individual from the big money and big politics that are a result of such thinking in practice.

Related On This Site:  Jack Shafer At Slate: ‘Nonprofit Journalism Comes At A Cost’From NPR: Grants To The NEA To Stimulate The Economy?…We’re already mixing art and politics, so…How Would Obama Respond To Milton Friedman’s Four Ways To Spend Money?

A Few Thoughts On Walter Russell Mead At The American Interest: “Why Blue Can’t Save The Inner Cities Part I”

The market will make people better off, but always leaves them wanting more and in a state of spiritual malaise, which invites constant meddling.  Can economic freedom and free markets reconcile the moral depth of progressive big-State human freedom:  Milton Friedman Via Youtube: ‘Responsibility To The Poor’A Few Quotations From F.A. Hayek’s: ‘Why I Am Not A Conservative’A Few Thoughts On Isaiah Berlin’s “Two Concepts Of Liberty”

Review of Denis Dutton’s ‘The Art Instinct’

From Bloggingheads: Denis Dutton On His New Book: ‘The Art Instinct’A Few More Thoughts On Denis Dutton’s New Book: ‘The Art Instinct’

Ken Burns makes a good documentary, but he’s also arguing he absolutely needs your tax dollars in service of what he assumes to be a shared definition of the “common good” as he pursues that art.  The market just can’t support it otherwise. Repost-From ReasonTV Via Youtube: ‘Ken Burns on PBS Funding, Being a “Yellow-Dog Democrat,” & Missing Walter Cronkite’