Archive for 2008
Two hundred years ago, according to Wikipedia’s front page:
1808 – German composer Ludwig van Beethoven (pictured) premiered his Fifth Symphony, currently one of the most popular and well-known compositions in all of European classical music, at the Theater an der Wien in Vienna.
[audio:http://www.archive.org/download/BBCSymphony5Beethoven_0/symphony5_beethoven_radio3.mp3]
[Download]
…Google’s Chrome browser being available for the Mac. (~January 2009)
…seeing Obama’s inauguration and hearing his speech (Jan 20 2009)
…seeing the last episodes of Battlestar Galactica. (Jan-March 2009)
…seeing the new Star Trekmovie (May 2009)
…getting an iPhone (Jan-Jun 2009)
…seeing the Caprica series (Jan 2010)
Wednesday, December 3 2008
Hart House (Great Hall), 7 Hart House Circle
7:30pm
Tickets $12. Limited seating.
For tickets call: (416) 640-5836, buy online or visit the Refund’s desk at 214 College St.
A lecture.
In this startlingly original vision of Canada, thinker John Ralston Saul unveils 3 founding myths. Saul argues that the famous “peace, order, and good government” that supposedly defines Canada is a distortion of the country’s true nature. Every single document before the BNA Act, he points out, used the phrase “peace, welfare, and good government,” demonstrating that the well-being of its citizenry was paramount. He also argues that Canada is a Métis nation, heavily influenced and shaped by aboriginal ideas: egalitarianism, a proper balance between individual and group, and a penchant for negotiation over violence are all aboriginal values that Canada absorbed. Another obstacle to progress, Saul argues, is that Canada has an increasingly ineffective elite, a colonial non-intellectual business elite that doesn’t believe in Canada. It is critical that we recognize these aspects of the country in order to rethink its future.
John Ralston Saul’s philosophical trilogy— Voltaire’s Bastards, The Doubter’s Companion andThe Unconscious Civilization—has had a growing impact on political thought in many countries. The conclusion to this trilogy, On Equilibrium—an exploration of the six qualities of the new humanism—is a persuasive and groundbreaking exploration of the human struggle for personal and social balance.
Mr. Saul has written five novels, including The Birds of Prey and The Field Trilogy. These works deal with the crisis of modern power and its clash with the individual. Like his non-fiction, his novels have been translated into many languages.
He has received many national and international awards for his work. The Unconscious Civilization won the 1996 Governor General’s Literary Award for Non-Fiction, as well as the Gordon Montador Award for Best Canadian Book on Social Issues. His reinterpretation of the nature of Canada, Reflections of a Siamese Twin, also won a Montador Award and was chosen by Maclean’s magazine as one of the ten best non-fiction books of the twentieth century. His novel The Paradise Eater won the Premio Lettarario Internazionale in Italy. Most recently he received the Pablo Neruda Medal in celebration of the hundredth anniversary of Neruda’s birth.
Mr. Saul was born in Ottawa and studied at McGill University and the University of London, where he obtained his Ph.D. in 1972.
Author photo by Ned Pratt.
On Saturday I wrote:
Monday December 8th 2008
Anticipated: The Fall of the Harper Government
Actual: Nothing
… well, as I’m writing this on Saturday the 6th, it may be too soon to tell.
It was too soon. Dion resigned today. Mr. Leblanc quits. On Don Newman’s Politics he says, “I concluded that I shouldn’t allow my personal ambition to stand in the way of the party coming together around a new leader as quickly as possible”. (9:52; below)
[audio:http://podcast.cbc.ca/mp3/politics-dec8.mp3]
For that, he probably deserves to become leader the next time. I’d like to hear more politicians putting ambition aside for greater goods.
The comment thread on the Globe and Mail’s story about a recording of Trudeau and Nixon contains this funny eye popper:
Salem Shaworski from Ottawa, Canada writes: In 30 years a tape will be released of Harper’s first meeting with Bush.
A brief few minutes of Harper’s sycophantic praise will be heard followed by the sound of a belt being unbuckled, trousers being doffed and eager slurping sounds as Harper expends a few quarts of saliva.
Mentioned amidst some of the commentary was that the House was meant to be closed six days later anyway. Checking Parliament’s website, we see that the sitting days were to continue to December 12th, before breaking for the holidays. So the heavy-handed tactic of shutting down the House rather than face a vote he knew he would lose had the effect of teaching Canadians a new word and giving the politicians some new propaganda to play with for Christmas.
Let us imagine the scenario, had things happened the way they could have.
All comment seems to agree that the Conservative party is being run as a Harper dictatorship. Party members dare not speak out against policy, for fear of the wrath of the dear leader. To say that the maligned Economic Update was ‘Harper’s economic update’ may not be inaccurate. Harper’s Economic Update was delivered on Thursday November 27th. It was to be voted on Monday December 1st. Already by Friday afternoon of the 28th, the talk of Coalition was underway, so that on the evening of that Friday, Harper said he’d push the vote back a week, ‘to give Canadians time to contact their MPs’ and to give everyone a cooling off period. Presumably, Harper was hoping that the extra time was all that was needed to diffuse the growing threat of a Coalition.
Monday December 1st 2008
Anticipated: The Fall of the Harper Government
Actual: The news conference presided over by the Liberals, NDP, and the Bloc.
The Coalition talk began to pick up steam. Conservatives had posted a website dictating talking-points to their supporters for call-in radio shows (a Macleans post on this). The week then is marked by mediocre commentary in the national press, and the dim witted web-comments by Conservative supporters who are typing ’separatists!!!’ and ‘the three stooges’, and other variations of belittlement. Up until the previous week, I used to enjoy checking out Bourque.com for a round-up of Canadian news. This past week, that site devolved into the worst of yellow journalism as it denigrated into an essentially Conservative position.
So, by Wednesday December 3rd, we’re going to be addressed by the Prime Minister. I don’t have a television and was out at the scheduled time at 7pm, so I watched it when I got home from a website. Harper came across as an abusive husband looking to be let back into the house. His see-through charm and television makeup did nothing to convince me that he’s trustworthy. Further, he blatantly tried to exploit the ignorance of the Canadian people, by implying that the Coalition did not have the right to take power, when in fact they do. The response by Dion I have not yet seen. I clicked on it and the video never launched. This was probably because it was late in being delivered. Further, I heard that it’s quality was awful, evident from the screencaps posted on accompanying stories.
All of this only to set the stage for the dramatic visit to the Governor General’s house, where she would either let Harper’s government fall, or suspend Parliament. By noon, the news had come that Parliament was being prorogued.
Monday December 8th 2008
Anticipated: The Fall of the Harper Government
Actual: Nothing
… well, as I’m writing this on Saturday the 6th, it may be too soon to tell. But Dec 8th was to be the day of the vote. So let us imagine it had gone ahead. The Harper government falls. Hipsters party on Monday night. But then what? The Coalition would take power only after Harper’s formal visit to the Governor General. He would have had to say to the Speaker that the loss of the vote demonstrates the loss of confidence in the government and he’s therefore be visiting her to ask her to dissolve Parliament and call an election. So, what happened on Thursday the 4th would have happened on the 9th. And then again, the question would have been, does the GG call for new elections, or does she allows the Coalition a chance?
The Coalition attempted to show through its documents and press conferences that it was positioned to lead the government for at least 18 months. This was in order to influence the GG into deciding to give them the chance. So, let’s imagine that she did. Somewhere around Tues December 9th or Wednesday the 10th, the breaking news is the establishment of a Coalition government. Because the hipsters had already partied on Monday, they don’t see the need to do it again.
And so … Parliament shuts down two days later, on Friday the 12th, as was scheduled. Christmastime is now all mixed up with the reality that the Conservatives are mighty pissed off to have been subject to ‘a coup’ and promise to make this special time of year toxic with their blue-branded hatred. Tidings of comfort and joy. Meanwhile, Dion is smiling everywhere and Layton is probably giving good speeches about how great things will be when they get back to Ottawa in January and deliver their throne speech.
All of this speculation is merely to say that the prorogation has probably kept the worst of this process from coming to pass before its time. But that’s not to say I wasn’t angry about it on Thursday.
I’m on record as supporting the attempts at a Coalition. I read somewhere yesterday that the prorogation allows us to test the validity of the coalition. If it falls apart by the end of January, than it was never meant to be in the first place. The events of the past week however suggest that given time, this strength of this grows rather then diffuses. I take comfort in the fact that regardless, Harper’s days as leader of the Conservative party are probably numbered.
Harper must go
My position as a citizen is this: I understand how our democracy usually works, and therefore am as prepared now as I was a month ago to live with a Minority Conservative Government. The only reason this is usually the case is because the Opposition parties always rule out working together. Even on Election night, it was clear that the NDP and the Liberals do not have enough seats by themselves to form a Coalition, and thus need the support of the Bloc.
As for the threat of the Bloc, this remains ridiculous. The Bloc do not scare me at all, I do not think of them as treasonous, and I find all call-outs to National Unity and the subsequent concept of the nation-state to be merely romantic delusion. Especially when they are promoted in web-comments by Conservative idiots quoting their dear leaders, apparently too ignorant not only to think for themselves, but to understand how our system functions.
This country is interesting because of its varied regional interests, not in spite of them. For that matter, the Bloc isn’t like other parties because Quebec isn’t like other provinces. As adults we should be able to live with that. And I think we have for the most part over the past fifteen years.
Let’s review the politics of the past decade and a half shall we? Throughout the 1990s, the Reform/Alliance party essentially was the Bloc’s Anglo equivelant, answering Western interests to the Bloc’s Eastern ones. This Western chauvinism swallowed the Progressive Conservative party ruined by the politics of Mulroney, bought new suits at Moore’s and called itself Conservative. It should be noted here that whatever genuine concerns and progressive ideas were to be found in the Reform/Alliance or the Progressive Conservatives were suddenly negated merely through the use of the Conservative label, as if to say that everyone west of Winnipeg who votes Conservative Party is incapable of believing in a progressive Canada and are born being against gay-marriage.
We should remember that this transformation was facilitated by Belinda Stronach who subsequently ran for them, was elected, but jumped ship when the pie of a Ministership was held under her nose by Paul Martin’s Liberal government. The Liberals then went on to lose an election, and Ms. Stronach found herself offering commentary at the Liberal convention in the fall of 2006. As we have seen, Canadian politics regularly delivers such WTF? moments. She subsequently quit politics, having been exposed as a power hungry go-getter who didn’t really care who was in charge as long as she had a place at the table. That’s not something I blame her for since why play the game just to be a back-bencher?
But it is to say that this game has been insidious, nepotistic, and opportunistic for a while now. Whatever Harper’s saying this week to demonize his opponents, they all understand the sport and their integrity as individuals and as a party is always subject to the hierarchy. If this country was being properly run, Dion wouldn’t be around. Someone would have had the balls by now to put him out to pasture so-to-speak, rather than let him linger on to discredit their position. Hurt feelings on Mr. Dion’s part aren’t supposed to a factor in the equation. That’s how power is exercised. The fact that Bob Rae is now stepping up to talk over Dion shows not only his ambition to lead the party, but also his qualification. Ignatieff’s fence-sitting is casting doubts on his measure as Prime Minister material.
The reason the Conservatives are currently dominant despite the weakness of their official numbers is because they don’t give a fuck about anyone’s feelings, and one can hope that this works out to our collective advantage when they draw the knives for Harper’s back. If not, as Adam Radwanski pointed out, we’re in even bigger trouble than we thought, writing: “If Conservatives are not at least seriously discussing the replacement of Stephen Harper before Parliament returns on Jan 26, he truly has succeeded in creating a cult of personality’. The last thing we need is a Maurice Duplessis holding this country back from the wonder of the 21st Century, as that dictator of Quebec did in the 1950s. However once he died the resulting Quiet Revolution rushed the province from the 19th into the 20th Century within a decade, and tried to follow-through by upgrading itself into a nation-state.
If Harper manages to enforce a nightmare of feel-good 20C Reagan-Thatcher bullshit on us while the US resurrects itself from its social catastrophe, and Europe continues to set an example for what a mostly enlightened society could be, the end result will probably be a dramatic national révolution tranquille in twenty years, by which time the rest of the world will be used to thinking of us as just another one of those third world countries of squandered potential ruled by an idiot. The talent of this country will continue to apply for US-work visas to escape the ignorance of this place. Eventually, Canada could come to resemble the southern United States, too ignorant and stupid to understand the hell we exemplify to others.
In the past I’ve said in conversations that I respected Harper as someone who didn’t seem all that bad. Sure, he’s always come across as a bit of dick, but that was personal rather than professional. After the borderline buffoonery of Chretien and the stammering incompetence of Paul Martin, he brought dignity back to the office on his election in 2006. He seemed genuinely humble and honored by the position. He had respect for the office and it was through that respect that he dignified it. Now, it could be said, the power has gone to his head, and he’s lost perspective. He now feels entitled to be Prime Minister, and fuck all of us who don’t see things his way. I’ll be no longer saying in conversations that he’s not all that bad. To that point, I want to state that I don’t regret defending him against the hyperbole of hipsters, and may continue to downplay their predictably alarmist rhetoric. This country is run best through sobriety, John A’s example notwithstanding.
Harper thoroughly failed at being a Prime Minister this past week. Yes, he failed politically by provoking the opposition parties to rebel. But even more importantly, he failed by exploiting the ignorance of the citizens. This is simply unforgivable. Harper is on record as saying that Canadians know nothing of their country, which isn’t something I’m that inclined to disagree with. The fact that he’s used this to suggest that the Coalition lacked validity, to play up the idea that his government ‘won’ the October election makes him despicable. It’s not scandalous to say that the Canadian population is largely ignorant of their history and of how their democracy functions. It is scandalous that the Prime Minister would seek to use that to his advantage rather than attempt to correct it.
The zeitgeist makes it impossible not to compare his performance with that President-Elect Obama. In February, his speech on race was described as a ‘teaching moment’, a description that rose from his approach to the situation, and from Obama’s background as a law professor. He saw an opportunity to educate and he seized it.
Harper’s opportunity to educate the population was squandered. It’s probably fair to say that he doesn’t care. The talking-points prepared for the minions to call into radio-stations proves that the Conservatives have a vested interest in keeping us mostly stupid. Yet, I don’t feel particularly alone in the country in my awareness that Harper’s a failure, and the talking points website referenced has mostly been presented with a humour suggesting some people can see it for what it is. (I don’t listen to talk radio anyway, so the propaganda effort is wasted on the like of me). The propagation of ignorance includes:
• This is what bothers me the most. The Conservatives won the election. The Opposition keeps saying that the Conservatives have to respect the will of the voters that this is a minority and so on.
…how about Liberals, NDP and Bloc respecting the will of the voters when they said “YOU LOSE”.
• And what’s this going to do to the economy. I’m sorry, I don’t care how desperate the Liberals are – giving socialists (Jack Layton) and separatists (Gilles Duceppe) a veto over every decision in government – that is a recipe for total economic disaster.
• No – do you know what set this off. When Flaherty said he was going to take taxpayer-funded subsidies away from the opposition. Now there is a reason to try and overturn an election– because the Conservatives the audacity to say “Hey, it’s a recession, maybe you should take your nose out of the trough.”
• I don’t want another election. But what I want even less is a surprise backroom Prime Minister whom I never even had the opportunity to vote for or against. What an insult to democracy
The true insult to our democracy is that such a website even exists.
On November 27th, Jim Flaherty (who should be balancing the books of a corner store in Whitby as far as I’m concerned, not the books of the Federal government) stood up to deliver an ‘economic update’. The Opposition parties were looking for an economic stimulus plan. Instead we were warned that he was removing funding from all parties, and in the weeks leading up to this, there were rumours he was considering selling-off Federal government assets in order to raise short-term cash. Again, Obama gives us some insight on what an economic stimulus package might look like. He’s calling for infrastructure investment and retrofitting of government buildings and schools. Things that would actually provide jobs. Our Minority Government is considering selling the CN Tower and wanting to fuck over their opponents.
There is no question why Harper has lost the confidence of the house. The question remains as to who our Prime Minister will be in February. – Timothy
[from Goodreads 08w49:2]
Reply from FlamingBagOfPoo:
As an American who lives in Canada, I find the whole thing utterly fascinating. Also, I think it’s brilliantly efficient. Look at how much waste is generated by a single political campaign in the US, where there are only two parties, which are really essentially just one party anyway. I love this multi-party system and I love the whole concept of a Parliament. I am watching this spectacle unfold with the same sort of jaw-drop amazement that I felt when I saw Star Wars for the first time in the movie theater a million years ago.
(via Chycho.com)
A Coalition Government
On the weekend I downloaded the results available at Elections Canada and did some number crunching. Thanks to the miracle of the spreadsheet, this was something that only took about a half-hour to do. The numbers remind us that the Conservatives only got 10.4 million votes, while the Liberals, NDP and the Bloc combined got 15 million. Thus Stephen Harper is full of shit, which is pretty much nothing new, as far as many are concerned.
As for talk of an alliance with Separatists, I too think this is bullshit. Since when as the Bloc been a threat? Since 1995, thirteen years ago. Now they are a Quebec chauvinist party who represent Quebec self-interest in the federal government. Given that a lack of representation and fair dealing throughout the 20th Century is what led Quebec to believe they needed to separate, perhaps the Bloc’s place in the House over the past fifteen years has been sufficient to defuse that threat. Yes, on paper, they’re Separatists. Also, on paper, the Pope believes in Jesus. But the Bloc is not a threat, and like the Pope, probably enjoy their political power and influence more than they do their ideology.
Which is exactly where Harper as gone so wrong – trying to mix his power with his noxious ideology. Seventeen million people did not vote for the Conservatives. Seventeen million Canadians rejected their ideals. Yet, with ten million votes, we found them in power. And what a Chomskyian fall – by that meaning their undoing followed Chomsky’s usual analysis that governments get into trouble when they fuck with powerful interests. All through the pre-election Parliament, the Liberals refused to challenge Harper’s regime. This is what earned my disgust with Stephen Dion, not the Carbon Tax. Now that they’ve finally stood up for themselves and for their representatives, I look forward to Dion as a Prime Minister. And yet, it was the threat to remove their public funding which became the straw that broke this camel’s back. Well, whatever. Lets bygones be bygones – the Separatists are not a threat, nor are they treasonous etc. Dion is no longer being pusillanimous. Harper is no longer appearing reasonable and respectable. Bring on the future.
One constitutional lawyer (also a University of Toronto professor), was on Don Newman’s Politics last evening (Mon Dec 1; begins at 11:19). The talk was a lack of historical precedence, in terms of giving this legitimacy. So what? Why does that even need to be a concern? Can’t this Parliament set a precedent? Indeed, this whole scenario is a heartwarming reminder that there are stop-gaps in place to prevent dictatorships and tyrannies. Mind you, that take on it might not be valid if the governing party was in the Majority. Nevertheless, what I saw when watching Layton, Dion and Duceppe’s news conference last evening was history, an historic handshake like similar foundational handshakes in national histories. John Ralston Saul likes to talk about the agreement between Robert Baldwin and Louis-Hippolyte Lafontaine, and how this arrangement laid the foundations for Confederation. A coalition government at this time could be the foundation of collaborative government which would be appropriate to the networked 21st Century. For all we know, this type of thing could lead to a revised Constitution in fifty years.
Repeated accusations of the parties playing partisan politics, and using the Bloc as a denigration, is entirely missing this point. Big picture, long term, we should have a government where the parties work together, where they represent a multitude of voices and different ideas, and this could free us from rule by one-party ideologues the likes of Harper, or for that matter, the likes of Chretien. Further, the Reform party (from which Harper sprang) found its first members among those who were angry with the Trudeau-era Liberals (who, granted, worked with the NDP during one of their terms). The point here being that breaking one-party majority rules who just piss off a lot of people off is probably a good thing for all. Historians may look at this as an evolution of politics which began with the return to Minority Parliaments after the Chretien years. Minorities which lead to Coalitions which lead to fairer representation at the Federal level. If anything, (and if they can get this right), this may enable future under-represented voices to be heard. And one can hope that amidst the economic stimuli, they find the time to bring in Proportional Representation, since it’s now to their mutual advantage.
In my excitement last night, I posted on as my Facebook status: ‘I am so proud of my parliament right now. This is Canada’s Obama moment. Wow.’ What I meant was that a bold, change-oriented, imaginative thing was underway, which put into contrast the status-quo we are used to. The election of Barack Obama was a result of a majority of Americans consciously choosing a different path, one that lead them into the 21st Century. Obama promises a government of transparency and of networked sophistication.
As Canadians, we aren’t there yet. But a majority of Canadians consciously chose to vote for parties other than the Conservatives, who would never lead us there to begin with. The five million more who voted past the Conservatives ten million will now feel like they’ve gotten the government they were asking for. They (and we, as I was one of them) deserve to be represented, and for our common desire to see a better country given a chance to be implemented.
[cross posted from Goodreads]
People who voted for the Conservatives: 10,493,047
People who voted for the Liberals: 7,349,977
People who voted for the NDP: 5,065,144
People who voted for the Liberals & NDP combined: 12,415,121
People who voted for the Bloc Quebecois: 2,778,758
Combined, the Liberals, NDP, and Bloc represent 15,193,879.
Total votes for the smaller parties (Christian Heritage, Communist, Greens, Independents etc):
2,213,995
Total votes that weren’t for the Conservatives:
17,407,874
A Coalition Government therefore would be democratically representative, despite what Stephen Harper has said.
Note: An earlier posting that you may have seen had methodological errors which I’ve since corrected.
Source: Elections Canada results. Some numbers are still listed as preliminary. My downloaded spreadsheet from Elections Canada; and my modified spreadsheet listing only the parties and the votes.
Bob Dylan explains globalization and postmodernism as it was experienced in the mid 1980s:
“Nah, none of that matters. I heard somebody on the radio talkin’ about what’s happenin’ in Haiti, you know? “We must be concerned about what’s happening in Haiti. We’re global people now.” And they’re gettin’ everybody in that frame of mind – like, we’re not just the United States anymore, we’re global. We’re thinkin’ in terms of the whole world because communications come right into your house. […]
Isn’t man supposed to progress, to forge ahead?
Well…but not there. I mean, what’s the purpose of going to the moon? To me, it doesn’t make any sense. Now they’re gonna put a space station up there, and it’s gonna cost, what — $600 billion, $700 billion? And who’s gonna benefit from it? Drug companies who are gonna be able to make better drugs. Does that make sense? Is that supposed to be something that a person is supposed to get excited about? Is that progress? I don’t think they’re gonna get better drugs. I think they’re gonna get more expensive drugs.
Everything is computerized now, it’s all computers. I see that as the beginning of the end. You can see everything going global. There’s no nationality anymore, no I’m this or I’m that: “We’re all the ‘same, all workin’ for one peaceful world, blah, blah, blah.”
Somebody’s gonna have to come along and figure out what’s happening with the United States. Is this just an island that’s going to be blown out of the ocean, or does it really figure into things? I really don’t know. At this point right now, it seems that it figures into things. But later on, it will have to be a country that’s self-sufficient, that can make it by itself without that many imports.
Right now, it seems like in the States, and most other countries, too, there’s a big push on to make a big global country — one big country — where you can get all the materials from one place and assemble them someplace else and sell ’em in another place, and the whole world is just all one, controlled by the same people, you know? And if it’s not there already, that’s the point it’s tryin’ to get to.”
– Bob Dylan, interview with Kurt Loder, 21 June 1984 issue of Rolling Stone
Copernicus
(from; also)
Lauren Zalaznick in her 30 Rockerfeller Plaza office.
From The New York Times Magazine
156 Canal St 1912, from Shorpy.com
156 Canal St circa 2008 from Google Maps Streetview
David Levine in his studio (from Vanity Fair)
In alphabetical order –
Harper C Party: I’m not ideological enough to be scared by Harper. More or less I find him uninspiring and disappointing. I think the Conservative strength is in their fiscal policy: I for one am looking forward to opening one of their registered savings accounts in January. But money matters are not inspiring matters, and when their cuts about arts created an uproar, the question shifted to not whether they were justified or not, but to the perception that the Conservatives don’t care about culture. Mr. Harper positively beamed when talking about the talents of his kids. He’s a proud father. It is striking that the question was even asked – when was the last time arts-n-culture were part of an electoral campaign?
I’ve admitted in the past that I respect Mr. Harper. I like the no-nonsense attitude, yes. But I’ll never vote conservative for as long as I live, and that has everything to do with their hard-hardheartedness. Maybe I respect Harper because he comes across as the only intelligent one of the bunch. He’s not a windbag like Jason Kenney, nor as much of an unprofessional jerk like Jim ‘don’t invest in Ontario’ Flaherty – a stinky old fish from the Harris regime (which John Ralston Saul described as ‘intentionally evil’ in his new book, writing about their attacks on the school system). At my riding’s All Candidates Meeting, Gerrard Kennedy tried to scare-monger by describing Harper as Harris. Puhlease. Harris was a typical stupid bully, whereas Harper is just the self-righteous smart kid who gets great grades and makes everyone feel bad. There’s a big difference. It is notable that they gravitated to the same political spectrum however.
Underlying conservative arguments is a not only past-oriented romanticism, but also an ignorance which feeds bigotry. They are ultimately the party of stupid patriarchs, and we’ve had quite enough of that.
The Conservatives display financial expertise. But it seems to be the only thing they can speak about with authority. Since life is about more than money, I’d appreciate more well-rounded fuck-saying people in my government.
Day – G-Party: Ms. Day was fantastic, bringing up obscure facts to educate the public on. I’m increasingly thinking I may vote Green. That’s all I need to say I think. I hope she impressed many people to do the same.
Dion L-Party: Mr. Dion spoke with authority, but what an uphill battle. He cowered for the past 18 months since becoming leader, and when the election was called brought up the fact that Harper was violating his own fixed-election date law. WTF? I mean seriously, what … the … fuck !??? You mean to tell me the reason we haven’t had his election sooner was because Dion seriously respected that silly law, which is obviously of no consequence? Does he really want to be PM? You mean, he would have contently waited out his role as leader of the Opp with the calendar marked with Harper’s fixed-election date? God I wish they’d made Ignatieff leader when they had the chance.
Besides that, Green Shift … whatever. I don’t care what it’s called or what it costs, I want to be able to breath outside when I’m 90. All parties seem to agree on this except for the stupid Conservatives.
Layton – N Party: Layton did a good job of agreeing with Day. That wasn’t a bad thing, since it reflected sensibility. Jack Layton isn’t someone I have any big problems with, and he’d make an excellent Prime Minister. The NDP tend to seem shifty because they come across as impractical (vs. the Conservative practicality). He made a good point in suggesting that if citizens want a better government, they should try electing one which doesn’t start with an L or a C (not his words, my interpretation). I would like to see the NDP appear more well-rounded and stop catering to relatively minor issues like fucking bank fees. I mean, banks suck of course, but I don’t need the leader of the minority opposition treating it like a mission more important than child care and health care and all the rest. The NDP have done a great job in keeping the Conservative budgets from being overly-crazy, and I commend them on that.
Duceppe – Q Party: Duceppe was irrelevant to English Canada.
Democracy is an open source project. You can quote me on that.
Ok, I will.
“Paying for things is our way of compensating all the people who have been inconvenienced by our consumption. (Next time you buy a cup of coffee at Starbucks, imagine yourself saying to the barista, ‘I’m sorry that you had to serve me coffee when you could have been doing other things. And please communicate my apologies to the others as well: the owner, the landlord, the shipping company, the Columbian peasants. Here’s $1.75 for all the trouble. Please divide it among yourselves.’)”
– Joseph Heath, ‘Filthy Lucre’ (2009) p. 160
[audio:http://timothycomeau.com.s3.amazonaws.com/audio/20080903deptofculture.mp3]
Valuing Culture:
TOWN HALL REGARDING CUTS TO CULTURAL AND HERITAGE GRANTING PROGRAMS
Wednesday, September 3, 2008, at 7 p.m.
The Theatre Centre, 1087 Queen Street West
(South East corner of Queen and Dovercourt)
For more details: departmentofculture.ca
Who should come?
Everyone concerned about ensuring the social and cultural health and prosperity of our nation in the face of a Federal Government that is aggressively undermining the values that define Canada.
Who will be speaking?
* Claire Hopkinson, Toronto Arts Council
* Susan Swan, Former President, The Writers Union
* Lisa Fitzgibbons, Executive Director, Documentary Organization of Canada
* Naomi Klein, Writer and Political Analyst
What will we be doing?
Talking about the issues and proposing a comprehensive strategy for unseating key Conservatives in the imminent election, both in the GTA and across the country.
Why is this important?
Because cuts and policy changes are radically changing Canadian society.
This event is as much about funding cuts to women’s groups, youth training programs, harm reduction programs, food inspection, environmental organizations and health policy, as it is about cuts to arts funding. It should not be too much to expect a decent society to live in, one that prioritizes the welfare of it citizens before the wealth of a few. We are placing the issue of defunding arts and culture in relation to vast cuts to Canada’s social safety net made by a socially irresponsible Conservative government. We are bringing artists together to:
* Lend our creative and organizational skills to the goal of unseating Conservative MPs from government;
* Ensure that the electorate is intelligently informed about the policies and issues
* Hold other parties and candidates to task for their social and cultural agendas;
* Make alliances with other like-minded communities and organizations.
What’s the background?
The recent wave of cuts by the Conservative government has sent shockwaves throughout an already resource-strapped arts community. Since taking power in 2006, the Conservative Government has eliminated almost $60 Million from Cultural and Heritage Granting Programs.
The most recent cuts:
* The PromArt Program, $4.7 million (administered by the Department of Foreign Affairs and International Trade)
* Trade Routes, $9 million, Department of Canadian Heritage
* Stabilization Projects and Capacity Building, of the Canadian Arts and Heritage Sustainability Program, $3.4 Million
* Canadian Independent Film and Video Fund, $1.5 million
* National Training Program in the Film and Video Sector, $2.5 million
* $300,000 to the Audio-Visual Preservation Trust of Canada, for programs archiving important film, television and musical recordings.
* Canadian New Media Fund, $14.5 million
This meeting is intended to articulate the issues and organize a plan of action. If an election is called, we will establish swing teams to unseat Conservatives in every city across the country. If there is no election, the same teams will be organized to criticize, challenge and creatively pressure the government to change their policies
This event is brought to you by the DEPARTMENT OF CULTURE: Franco Boni, Izida Zorde, Heather Haynes, Darren O’Donnell, Gregory Elgstrand, Sara Graham, Graham F. Scott, Roy Mitchell, Naomi Campbell, Anthea Foyer, Michael Wheeler, Brenda Goldstein.
The DEPARTMENT OF CULTURE wants you as a member. Anyone interested in organizing, doing research, writing, making graphics, videos, blitzing ridings, attending all-candidates meetings, marching in the streets or contributing funds should contact: membership@departmentofculture.ca
For more information or media inquiries contact: media@departmentofculture.ca
I drafted the majority of this a couple of weeks ago, in light of the recent announcement of the funding cuts. In the interim weeks, Leah Sandals and Jennifer McMackon have done better jobs than I could have in assembling related links. Also, in the past week, it became increasingly clear that Harper will call an election within the next two weeks, making these controversial cuts and copyright bill null and void unless the Conservatives return to power with another minority or, god help us, a majority.
I live in a riding with an NDP candidate, and I will with good conscious vote to reelect her. Doubly, as a citizen of Toronto, I’m in an essentially Liberal area. For this reason, it has been said over the previous two and half years (since the last election) that the Conservatives have been screwing us over. It has also been said that Harper ideally wants to destroy the Liberal party. Do we really want to have such a petty and vindictive bunch of assholes deciding things for the other 33 million of us? Equally troubling is the fact that Harper grew up in Etobicoke, which is to say, Harper hates his home town. Well, fuck him too, and the scare-mongering flyers I’ve been receiving in my mailbox.
To Take Care of Oneself
As artists, it’s not a question that society owes us a living; to use that phrase is itself problematic – to say use the word owe, suggesting a debt or some other economic transaction.
For me, I go back to my early 20s, having gone through art school and having met and befriended people who in many ways weren’t really capable of taking care of themselves. They were deficient in life skills primarily, but also in terms of coping mechanisms. It wasn’t so much that they were losers or retarded in the legitimate sense of the word, but they were just different, round pegs for society’s square holes. Myself, I’d like to live in a society of difference/variety/heterogeneity. How we deal with the challenges presented by ‘un-normal’ people is one by which we can measure the state of our civilization. Since for me civilization is about the education we provide and acquire to remove ourselves as far as possible from the states of animals (who are fearful, ignorant and cruel), a civilized society is one reflective of communities of care and of elevated compassion: a state present even in animals but which we can nurture and encourage more of as self-aware beings.
In grade school, we had a class of ‘special kids’ who were the ones in wheelchairs, or were borderline blind, or whatever. One girl in particular I remember as probably having cerebral palsy. Because of the area (rural Nova Scotia) this class might have been doubling as a day care (I’m not sure what type of education was being provided) but for the most part, adapting to the needs of these children was taken for granted as the proper thing to do. It taught me that I lived in a civilized society because these people were both cared for and not to be mocked. Through this a sense of compassion was both taught and encouraged.
In my 20s, I learned that some people weren’t able to take care of themselves. And the lesson for me was just because this is so doesn’t mean people should be poor, unemployable and underemployed, nor end up homeless. It should be possible to accept these people and make sure they have homes, enough money for food and clothing and comfortable lives. There’s no need for them to suffer just because they’re different.
Like the disabled children of my community, they should to be taken care of. As a rich society not overwhelmed by the incompetent (I’d guess they’re less than 20% of the population), it should cost peanuts to make sure these people have ok lives. Considering that the real fuck-ups who end of in jail are cared for by the state, investing in keeping the annoying from becoming homeless and moochy shouldn’t be that big of a deal.
Maybe all they need is some kind of compassionate service – a councilor or a social worker. In terms of homelessness explicitly, I’ve heard it said that many are people who would be fine if they had a stable address and a social worker to help them take their medications on time. This doesn’t seem a lot to ask. If we can provide services for those who are not able-bodied, we should also accept that some people are just born different, and that they are just not ‘able-minded’ by what are thought of as society’s norms. 1
There is room for critique as to what constitutes the able-minded, but that is for another discussion. Meanwhile we’ve had plenty of critique of society’s norms, and while that has brought to light these considerations, they haven’t done much to encourage people toward compassion.
People who aren’t capable of fitting-in (to the extent that they can’t take care of themselves in the usually accepted way) just need accommodation and consideration. It isn’t a question of being owed, but of helping people within our community. Those who are physically and congenitally disadvantaged do not argue about being owed a living, but I think they rightfully feel entitled to being treated with respect and dignity.
So, send in the artists, with century old arguments about being owed a living and expecting support from government-funded organizations. What these arguments amount to is artists saying they’re retards who can’t take care of themselves and are essentially hopeless at basic economic management. Given that it was in art school that I began to think about this (as stated), that may be case. However, unlike the trolls commenting on the newspaper-site boards, who are happy with the cuts, I didn’t consider my fellow art-students and graduated artists as losers, but simply different. And so, I’m not very sympathetic to a line of argument that plays into ignorant prejudice among those completely uneducated and insensitive to the arts. The continued begging at government coffers, based on the idea that artists are incapable of surviving without it, seems self-harming and essentially untrue.
On the one hand, artists like to argue that they’re vital to society for all sorts of reasons, but on the other hand, they’re arguing that they’re incapable of functioning within that society. Over here, arguments about the intelligence of art and the superiority of the artist over the corporate clerk, and over there, whining about capitalist exploitation in the Third World while their dealers take 50% of the price of their work. Here a sense of entitlement to government financing, while there, artists who want to be above regulation and censorship while continuing to cash the government cheques.
In a sense, artists have become the ill character of a sitcom who doesn’t want to get better because everyone has become kind and giving toward them. In that manner they’ve degraded themselves and have invited disdain, which by the end of the episode is played for laughs. One of the values of Conservatives is personal responsibility, and the ability to take care of oneself. It thus follows that Conservative governments do not see much value in funding the arts because it’s representative of coddling adults who should be able to self-manage. By arguing that they’re retarded for so long, artists have willfully invited disdain.
Canada is a hard place to live
Sixty years ago, Roberston Davies’ Fortune, My Foe was first performed in Kingston. It contains a line I’ve seen much quoted in arguments reflecting on the development of arts funding in Canada.
Everybody says Canada is a hard country to govern, but nobody mentions that for some people it is also a hard country to live in. Still, if we all run away it will never be any better. So let the geniuses of easy virtue go southward; I know what they feel too well to blame them. But for some of us there is no choice; let Canada do what she will with us, we must stay.
Davies of course did not leave, but stayed and became part of the Canadian cultural legacy. (The internationalism of the film/television and music industries meant that we can still lay claim to those stars who now live elsewhere but who began with Canadian passports). In the years leading up to the 1967 Centenary, Canadians (reflecting a post-war, mid-20th Century modernist mindset as much as anything else) invested in developing a sense of nationalism. The result of this investment is people like John Ralston Saul and Adrienne Clarkson, the only two Canadians left in the media-scape praising Canada as a nation, both old enough to have been young adults at the Centenary, and both now at an age when they just seem like old fuddy-duddies.
The children of their generation is that of my own, kids born in the ’60s and ’70s and in terms of inherited legacies, pot smoking was far more successfully passed on then the spirit of Canadian nationalism. Planted in post-war soil Canadian Nationalism flowered for 1967, was worn in the lapel of Trudeau, then withered and died as is natural for flowers and all other living things. While ambitious and certainly worth the attempt, a government funded attempt at generating an artificial trans-continental consciousness in a place so geographically varied and multicultural is retrospectively absurd and perhaps deserving of it’s demise.
But the 1950s research into this attempt was that of the Massey Commission and the result was the Canada Council. We are told legends by elders of generous funding and ‘National Gallery Biennials’, where every couple of years the National Gallery would ‘define where Canadian art was at’. (src). This was part of the Nationalistic enculturation which produced the likes of Saul and Clarkson. By this early 21st Century, the children of those boomers are much more interested in city-state politics and thinking, founding the likes of Spacing magazine, not really giving a shit about McCleans while mocking Richard Florida even as he legitimizes them to the current crop of out-of-touch establishment.
In his 1993 introduction to a reprint of Fortune my Foe, Davies describes the genesis of the play; after World War II put a stop to touring plays by independent and occasionally American theatre companies, his university friend Arthur Sutherland established a theatre company in Kingston and invited Davies to write a ‘Canadian’ play to complement the repertoire of English and American comedies. In describing this background, Davies defines an artist as ‘a person who enlarges and illuminates the lives of others.’ In commissioning a young Roberston Davies, Sutherland, although aware of the risk…
“…wanted a play about Canada. It was risky because Canada has for a long time been thought a dull country, with dull people. But there was a time when Norway was thought dull, and Ireland was thought absurd, yet both of them brought forth plays which have been acclaimed as treasures by theatres around the world.”
Which reminds me of Norman Mailer’s claim that the economic recovery of Ireland in recent years can be traced to James Joyce. In other words, the capacity of a country to see itself reflected in a work of imagination can both be an ‘enlarging’ experience and also so inspiring to bind a community together. Davies is also claiming that the difference between being considered dull and ‘interesting’ (or cool, in the present sense) is in the nature of one’s self-imagining, and the messages that puts out. If painters of the United States had confined themselves to images of the American Gothic and considered that an accurate self-representation rather than satire, would we not think of the U.S. as dull?
After offering a synopsis of his play, Davies in the ’93 introduction goes on to say that his task was to make the play not too didactic. Within the structure of the play Davies had a character of a puppeteer, a European immigrant, who is sponsored to give a puppet show by the producer characters of Philpott and Tapscott. As Davies explains, the European puppet master was reflective of the recent wave of European immigrants and refugees from devastated Europe, who brought with them Old World sensibilities about art and culture, and were met with a homegrown New World audience who did not share those same ideas.
“Message,” Davies wrote, “was very much on the lips of Canadians like Philpott and Tapscott, the do-gooders who took up the puppet-show, without having any understanding of its special quality or its cultural background, but who were convinced that the task of art was to teach – to offer a Message, in fact, and to offer it in terms that the stupidest listener could understand. Canada was, and still is, full of such people. They think of art of all kinds as a sort of handmaid to education; it must have a Message and it must get across. The truth is that art does not teach; it makes you feel, and any teaching that may arise from the feeling is an extra, and must not be stressed too much. In the modern world, and in Canada as much as anywhere, we are obsessed with the notion that to think is the highest achievement of mankind, but we neglect the fact that thought untouched by feeling is thin, delusive, treacherous stuff”.
Is it not the idea that the Conservatives, in government and individually, are people not touched by feeling? Is this not reflected in Jose Verner’s comments that she would like cultural funding to be efficient? Myself, I like efficiency since it’s about doing as much as possible with the least effort – in other words, ‘being lazy is good’ as they say in computer programing, for just this reason.
It is in fact sensible for the government to want to do this. But it is also the case that the government appears to show a disdain for the arts that lie partially in a complacency engendered by funding. Canadian art is rather pathetic and remains so because the infrastructure was set up within a moment of forethought and generosity, and instead of igniting both the imagination and the culture of the country, merely created institutions staffed by people who take the funding for granted and feel entitled within their institutional titles. Instead of fostering culture, they see themselves as beyond petty and quaint nationalistic concerns and instead fly off to Venice every couple of years to hob-nob with the planet’s remaining arrogant aristocrats, shaking away the dirt of the stupid ‘unwashed masses’ of this country who usually live in the neighborhoods the galleries move to. Admittedly, that’s being overly cynical and ignoring the good that many artist-run centres and other galleries do within their neighborhoods (before raising the market-value of neighboring properties by their presence) but such ‘good’ is questionable as a repetition of a colonial mindset that sees certain groups as needing help: bring them civilization and culture; capital-c Culture having replaced Jesus in a secular society.
On July 17th I had no idea that the programs in question even existed, and I’m in the culture business. Which is to say that the gang of young adults who have turned Toronto’s gallery-area Queen West West into another nightclub district probably have never heard of the programs either. Why then should I or they have cared on August 17th? When I didn’t know they existed I didn’t care, and now that I know they exist and may not for much longer I still don’t care that much. In effect, the Conservatives have potentially legislated my mid-July mindset into existence.
In as much as I’ve gotten emails repeating the contents of a new Facebook group, I have a suspicion this may be a lost cause. As evinced by their artist-statements, artists in this country are rarely capable of being eloquent enough to convince Conservatives or the rest of the population of their value. The Conservatives have upset an easily ignored minority, and inspired such comments as:
“when the government stops spending money on endeavours that provide next to no value to the Canadian people it is not pandering, it is good government. Am I the only person in the god forsaken country that remembers we have a fricking health care crisis? Sure, there is an element of pandering, and there is plenty of other funding that should be pulled but will not be, but the simple act of pulling funding from people who never should have received it is a good thing. End of story.” (from)
and
“I think that is what I was getting at. I’m all for supporting the arts but I feel that people of Mr. Lewis’s status and influence should not be receiving money from the government whether he is right or left wing. A friend of mine is an artist and she maintains most of the arts grants go to people who don’t need them. The real starving artists don’t have the influence to affect awards.” (from)
and
“The government is the one entity in the country that is least likely to make an intelligent decision on how to spend money. In fact, the only reasons to access government funding over private are laziness, a desire to be unaccountable for the funds you receive, and the knowledge that the general public sees no value in your product.
The government should contribute to the arts through tax credits alone. This can amount to a large amount of support, ensures there will be a respectable amount of accountability built into the system, and will bring the arts community closer to the community it supposedly serves.” (from)
yet, there is one considered argument:
“Fund the Olympics and not artists? Artists leave something behind for future generations; athletes… well, they’re fun to watch. Someone said independent producers such as Avi Lewis should pay to find their own distributors. Maybe. But then you should be consistent and argue against ALL government economic subsidies and incentives. Let’s stop subsidizing automakers, oil companies, the aerospace industry, etc. For the most part, the organizations and individuals affected here are either completely non-ideological (such as Tafelmusik) or engaging in economic development for Canadian businesses, which employ Canadians (such as the Hot Docs festival’s Toronto Documentary Forum, which among other things, brings foreign investment into Canadian productions). Finally, what’s lost here is that arts and culture have always been an important part of international diplomacy. The Tories are letting their ideology trump the national interest. Shame on them.” (from)
But in regards to Tafelmusik, a baroque orchestra playing on period instruments, they charge between $89 to $15 dollars a ticket. Surely they work a profit margin in there somewhere? Surely those wealthy egotists so eager to have their name immortalized for the a decades on a hospital wing (or listed in platinum lettering in the lobby of retarded new ‘expansions’ ignored by people waiting in line to pay $22 to see largely empty galleries) can find a mil or two to send the Bach to China?
[Cross-posted from Goodreads 08w35:2]
Aaron Straup Cope:
Between plane-living and the Internets we may be midway through the process of distilling every place on Earth down to one of a half-dozen archetypal city-states but until that happens trying to affect a person’s relationship to the history and geography of whatever piece of dirt they call home will continue to be a source of tension.
Eighteen city-states within a global Imperial political model = late 21st Century.
I first began hearing the city-state meme in the mid-1990s. An awarness of it, or a tendency to quote it as Aaron Cope has done, is almost a marker of a generation. John Ralston Saul and his wife are part of the last generation of Canadian nationalists, always ready to write books on Canada and to talk about what it means to be Canadian. Meanwhile, people my own age, in my own city, started Spacing magazine, which is very much of the city-state mentality.
(Via Reddit)
I saw the image in the blog posting, positing the fate of one of the characters. Because we know that the story takes place at a post-apocalyptic time, and thinking this was a leaked shot from an upcoming episode, I imagined the wildflowers were those of British Columbia spring, depicting some time in the far-off post-catastrophe future. The camera would rotate about it, there’d be some slow motion fluttering of cloth, angelics and whatever.
Then I Google the file name and find this. Still, on yesterday’s walk, I thought about the wild flowers, the future, and the simplicity of the character’s supposed fate. And made the image my Desktop wallpaper.
Because of the context in which I first encountered it, the image has poetic resonance. But had I found it’s Photoshoped goodness in its original context, I wouldn’t have reason to think differently of wildflowers.
Colm Caesar (Empire, 2005)
Colm Trudeau (Trudeau, 2002)
Colm Adar (Battlestar Gallactica, 2006)
With the exception of the Tragically Hip, I have excluded Canadian musicians simply because they would exaggerate the list and because Canadian music for the most part is no more culturally specific than any other (accounting for its international success). The inclusion of the Hip here reflects their use of Canadian specific content throughout their songs. Leonard Cohen is included for his work as writer more than for his work as a musician.
This list merely tried to illustrate the groupings of artists by generation, to show the progression of cultural achievers over the last century. This illustrates that at the beginning of the 21st Century we have a legacy of artists to understand a heritage around, which wasn’t so much the case even fifty years ago. Also, any name not here is more of an oversight than a judgment (suggestions welcome).
Catharine Parr Traill 1802 – 1899
Susanna Moodie 1803 – 1885
Ozias Leduc 1864-1955
J.E.H. MacDonald 1873 – 1932 (G7)
Tom Thomson 1877-1917 (G7)
Fred Varley 1881-1969 (G7)
A.Y. Jackson 1882-1974 (G7)
Lawren Harris 1885-1970 (G7)
Arthus Lismer 1885-1969 (G7)
Frank Johnston 1888 – 1949 (G7)
Franklin Carmichael 1890 – 1945 (G7)
Harold Innis 1894-1952
Paul-Emile Borduas 1905-1960
Hugh MacLennan 1907-1990
Marshall McLuhan 1911 – 1980
Northrop Frye 1912-1991
Robertson Davies 1913-1995
George Grant 1918-1988
Pierre Trudeau 1919 – 2000
Jean-Paul Riopelle 1923-2002
Oscar Peterson 1925-2007
Margaret Laurence 1926-1987
Timothy Findley 1930 – 2002
Mordecai Richler 1931-2001
Alice Munro 1931 –
Glenn Gould 1932 – 1982
Robert Fulford 1932-
Leonard Cohen 1934 –
Garry Neil Kennedy 1935 –
Margaret Atwood 1939 –
Adrienne Clarkson 1939 –
Jorge Zontal 1944 – 1994 (General Idea)
Felix Partz 1945-1994
Jeff Wall 1946 –
AA Bronson 1946- (General Idea; Solo)
John Ralston Saul 1947 –
Rodney Graham 1949 –
David Gilmour 1949 –
George Elliott Clarke 1960 –
Douglas Coupland 1961 –
Gordon Downie 1964 – (Tragically Hip)
Paul Langlois (1964 – (Tragically Hip)
Rob Baker 1962 (Tragically Hip)
Gord Sinclair (Tragically Hip)
Johnny Fay 1966 – (Tragically Hip)
Mark Kingwell 1965-
Darren O’Donnell 1965 –
(From)
Alpha Beta Gamma
I recently decided that my current website is actually version 5.2, not 4.4. This needs some explaining.
I learned web design through books on the advice of a friend. My first book (Elizabeth Castro’s HTML 4) along with View Source cut-n-paste got me writing my first rudimentary website in 2000. It wasn’t until early 2002 (through Geocities) that I learned how to FTP. It was a proud moment when I was able for the first time to see one of my jpegs on someone else’s computer via the net.
During the summer of 2002, I built my first website. It was hosted on Geocities and later moved to Instant Coffee‘s server.
Version 1
This went through a number of body-colour variations (and upper-right hand graphics) before it ended up as it remains today.
The Way-Back Machine shows me a site on the Instant Coffee server from February 2003 which I called then Version 4, meaning it was the 4th design revision I’d gone through since the above # 1, before I scrapped all this alpha-draft code later that summer.
My site, Feb 2003
When, in August 2003, I tried to apply what I’d learned in the previous year by building my first complicated site, using Youngpup.net‘s ypSlideOutMenus code. This page (as was proper for the time) even had a splash page.
Version 2
In August 2004, I again worked on redesigning my site, to incorporate what I’d learned in the previous year. This site used CSS and my then basic understanding of PHP Switches and MySql.
Version 3
I left this site for two years, until August 2006, when I began working on another redesign. However, while I began the basic layout during August, I backburnered it until December, and made it public in January 2007, when I acquired my timothycomeau.com domain name and new server space (until this time, the previous websites had been sub-directories of my host. The 2002-2003 sites had been found at tim.instantcoffee.org or instantcoffee.org/timothy and then the 2004-2006 site had been at goodreads.ca/timothy). For this reason, I sometimes refer to this design as ‘the 2006 one’ or ‘the 2007 one’. I’ve pretty much decided from here on to think of it as ‘the 2006 one’ since that’s how I’ve come to consistently remember it.
Version 4
Last December I began to redesign the site, to once again update it according to my expanded know-how. Because I felt I’d simply redesigned the menu and updated the logo, I felt that it was a version of #4 (most recently 4.4) and hence, until recently, I’d considered it such. But, I’ve come to think of the present site as a different ‘2008 version’ and figured I should just consider it a #5. Since the .dot numbers come somewhat arbitrarily via whatever small improvements I make here in there, I figured it’s present state is about two modifications away from where it was at in January (when I considered 4.2) hence, version 5.2.
Version 5
Sometime within the next thirty years, the area of Yonge St incorporating Sam the Record Man, Dundas Square, up to Bloor, will be preserved in all its classless glory as a heritage district of late 20th Century.
My contribution to the book Decentre: concerning artist-run culture/a propos de centres d’artistes published by YYZ Books, and which launches tonight in Toronto.
———————–
Artist-run centres developed to exhibit what at the time was unmarketable, and in so doing became the elitist arbiters of a contemporary taste, based on a reputation for taking risks and initial support of those who went on to become the academics and international art stars (and therefore the default judges of what constitutes good art). Undoubtedly without their presence we’d be culturally poorer, yet today they have become part of an economic system of which they’re in denial.
Because artists have always depended on the patronage of the rich, the artist-run centres have become essential within the overall art system, arguably the only “dealer” that really matters to patrons. To have any sense of artistic legitimacy in Canada – the type that gets you bought by institutions – one needs to somehow be affiliated with an artist-run centre.
Today’s art institution will buy based on a trendiness they equate with aesthetic and cultural merit, and their purchase perpetuates the artist’s delusion that they matter in some grander context, even while their piece lies in a crate in storage. Had they sold to a private patron, they could at least watch as this person re-sells their work to another rich person or to an institution looking for a piece of trendy action on someone once overlooked. The seller does this to a potentially large profit, a share of which the artist won’t see.
Because artist-run centres are staffed by a relatively small network of professionals, they’ve unfortunately become nests of nepotism. How many young artists new to the system send off packages bi-annually only to watch the exhibition calendar fill up with ”curated” shows featuring artists who are friends with staff and board members? This is exacerbated by allegiances to obsolete ideas and aesthetic ideologies which result in shows of boring work weakly justified with poorly written brochure essays.
The fortunate thing is that every five years an artist-run-centre is populated by a new generation of staff, exhibiting artists, and board members. This makes them highly adaptable to changing cultural conditions, and perpetually reformable.
JA: Do you want to add something about the art scene?
RR: I have this vague sense that the art world has become so isolated from everything else in the universe that you’re either in it or in the rest of the world — nobody has time to be in both.
-Josefina Ayerza interviewed Richard Rorty in the Nov/Dec 1993 issue of Flash Art
Moving parts in rubbing contact require lubrication to avoid excessive wear. Honorifics and formal politeness provide lubrication where people rub together. Often the very young, the untraveled, the naive, the unsophisticated deplore these formalities as “empty,” “meaningless,” or “dishonest,” and scorn to use them. No matter how “pure” their motives, they thereby throw sand into machinery that does not work too well at best.
-Robert Heinlein, The Notebooks of Lazarus Long, from Time Enough for Love (1973)
(From Goodreads 08w26:1)
I saw Darren O’Donnell at the Toronto Free Gallery opening last Thursday night and he told me he’d been engaged in the past week with an online debate about the validity of his work with Mammalian Diving Reflex, a debate initiated by Gabriel Moser and picked up on the Sally McKay’/Lorna Mills blog.
I’ve recently moved and had been in no rush to get the net at home set up, a situation further compounded by Rogers’ incompetence (I’m posting this from work dear reader), so this debate had escaped my attention. However, alerted by Darren, I looked up the links at work on Friday and printed off the conversation for some weekend reading. My immediate reaction (especially having converted it to page-length) was ‘wow’ – to the two documents both approximately 20 pages in length. As much as Darren was enervated by the criticism, at least this was a conversation being had.
I met Darren shortly before he began his `social acupuncture` projects, and so I’ve always felt I had an insider’s perspective on them, having participated in and been witness to some of their earlier manifestations. Further, I was at the book launch for his Social Acupuncture (meaning I read it as soon as was possible) and so I have the insight provided by his brilliant essay at the back of my mind with regard to the work.
What Moser and Sandals provide me with is the perspective of someone who doesn’t know Darren personally. Sandals is upfront in admitting she doesn’t like Darren which biases her against the work (src). Another friend of mine admitted that he didn’t quite understand what the work was about art-wise either, but at the time I countered that it was part of our culture’s move away from fiction toward non-fiction (a personal interpretation I worked out somewhat in Goodreads 07w11:1).
I do take issue with one of Moser’s interpretations, since it made me sputter in indignation. I’ve never met Ms. Moser and would like to think we could get along in the future, but I have to nominate one of her paragraphs as one of the stupidest things I’ve ever read.
Speaking of the humor of Mammalian Diving Reflex’s work with children, she wrote:
But the pessimistic part of me thinks that the humour actually lies in something far less self-aware and much more sinister. This part – let’s call it the UBC indoctrinated part – thinks that the humour actually comes from a strange and almost colonial kind of child-adult anthropomorphism. That when adults see these kids trying to play grown up, the humour comes from the fact that we think they’re ‘cute’ in a patronizing way – that their inability to successfully inhabit these [adult] roles is funny in the same way that watching a dog awkwardly dressed in a human business suit is funny.
Anthropomorphism is a completely inappropriate concept to apply to children, suggesting that they aren’t part of our species (only adults are truly human ?) but are akin to dogs dressed up. I am surprised that this thought occurred to her, and doubly surprised that she saw fit to publish it. If only UBC indoctrination had taught her to recognize foolishness when it occasionally occurs, even in the best of minds.
I find nothing humorous about the Mammalian Projects, nor does ‘cute’ really enter into it for me. I’m informed by Darren’s ideas about acupuncture – that you’re poking a dam to hopefully collapse it and return the flow – and in this case, Darren is working with our society’s totally fucked up ideas about children. These ideas are so fucked up that a writer doesn’t recognize how inappropriate it is to use the word ‘anthropomorphic’ when speaking of them.
I keep thinking of a passage from Christopher Alexander’s Pattern Language. In Pattern 57, Children in the City Alexander wrote:
If children are not able to explore the whole of the adult world round about them, they cannot become adults. But modern cities are so dangerous that children cannot be allowed to explore them freely.
The need for children to have access to the world of adults is so obvious that it goes without saying. The adults transmit their ethos and their way of life to children through their actions, not through statements. Children learn by doing and by copying. If the child’s education is limited to school and home, and all the vast undertakings of a modern city are mysterious and inaccessible, it is impossible for the child to find out what it really means to be an adult and impossible, certainly, for him to copy it by doing.
This separation between the child’s world and the adult world is unknown among animals and unknown in traditional societies. In simple villages, children spend their days side by side with farmers in the fields, side by side with people who are building houses, side by side, in fact, with all the daily actions of the men and women round about them: making pottery, counting money, curing the sick, praying to God, grinding corn, arguing about the future of the village.
But in the city, life is so enormous and so dangerous, that children can’t be left alone to roam around. There is constant danger from fast-moving cars and trucks, and dangerous machinery. There is a small but ominous danger of kidnap, or rape, or assault. And, for the smallest children, there is the simple danger of getting lost. A small child just doesn’t know enough to find his way around a city.
The problem seems nearly insoluble. But we believe it can be at least partly solved by enlarging those parts of cities where small children can be left to roam, alone, and by trying to make sure that these protected children’s belts are so widespread and so-far reaching that they touch the full variety of adult activities and ways of life.
For me, Darren’s work is about restoring the balance of incorporating young people into a community, to break them away from the segregation we enforce onto them through class-rooms and age-based learning. Writing in the 1970s, Alexander hinted that unless children interact with adults, they cannot become ‘adults’ themselves. As a child of the same decade, I recognize the effects the subsequent decades have had on my generation and those that have followed. As Lorna Mills points out in one of her comments:
…brings to mind the late Neil Postman and his wonderful book The Disappearance of Childhood where he, at one point, proposed it was actually adulthood that was disappearing.
For generations we have effectively controlled the community that our children and young adults experience so that they only really know a community of each other. In my case, it was only toward my mid-twenties that I began to make friends with people significantly older than myself.
Now, that’s what I like about the Mammalian projects; that it’s a fuck-you to a society that segregates children and treats them like precious little angels and not human beings. Having watched the 1970’s The Bad News Bears recently, I was struck by how adult those adolescents seemed: they drank, smoked, swore and said offensive things. That’s pretty much how I remember that age range for myself. And yet, in the thirty years since that movie, children are now routinely depicted as being smart-alecky technical whiz-kids, cute and precious and silly, and if Speilberg’s involved, crying for their fucking daddies.
An anti-adult Boomer ideology has infected everything and I know thirty-somethings who proclaim with pride a Peter Pan syndrome (and I’m not talking about Michael Jackson). This is to say that the only valid model of Being now acceptable is the youthful one, which by definition is immature. This indoctrination leads to the belief that it is better to be pre-formed that fully-formed, better to cut yourself off from your full potential as a being, and be happy with the state leading up to it. In art terms, it is better to be a sketch than to be fully rendered.
Yes, I understand the prejudice: that adults are humourless squares. That their spirits are dead and they’ve lost their collective imagination. But I grew up with an understanding that each decade of life offered something unique to experience, and I wasn’t going to settle for the awkwardness and patronization I’d experienced throughout my childhood and adolescence as being all I could expect from life. While adults of previous generations had given the condition a bad name, that doesn’t mean we should refuse to embrace our biological destiny. A little bit of historical awareness should mean we can chose to be a type of adult that suits us. I understand today that there are those who are choosing to be Peter Pan types – fine. I just wish it wasn’t so popular.
ART
As an anonymous commenter pointed out on the Moser post, the projects ‘should be critiqued from a performance art point of view first and foremost, just as a painting would be critiqued. I’d like to see if anyone will actually look beyond the “kids in parkdale” thing and see the thing as art, because the fact that no one has so far (as far as I know) says more about our perceptions and ideologies than Darren’s.’
As art, Darren is working self-consciously working within the Relational Aesthetics stream of contemporary practice. Relational Aesthetics emphasizes events over objects – one goes to the gallery/space to experience something rather than to just see/hear something. Relational Aesthetics as a movement has already jumped the shark according to some, but I think that type of judgment just highlights an allegiance to being trendy. It is valid exploration within our structured society, which often highlights what we take for granted about our relations with one another. For example, Mammalian’s projects highlight that we take ignoring kids and their imagination for granted.
Chuck Close is said to teach his students that ‘if it looks like art, chances are it’s somebody elses’. That is, it’s familiar, established, and probably by consequence unoriginal. Art has become a series of familiar forms, and all it took was Nicolas Bourriaud to write a 114 page book and call it ‘relational aesthetics’ for artsters to stop saying ‘what the fuck’ and be all uncomfortable with the unfamiliarity, and to start exploiting the possibilities of this form of performance and theatre.
In a comment on her post, Moser uses Diana Borsato’s use of tangoing police officers (during 2006’s Nuit Blanche) as something more obviously ‘art’ because she used adults. (Borsato herself weighs in here). MDR’s use of children puts their work (for the 2006 Nuit Blanche, ‘ballroom dancing’) in the realm of ‘community art’. This seems entirely a personal interpretation on her part, but one informed by the familiar and by our privileging childhood as something ‘special’, the same way the drooling kids in our schools were ‘special’ … i.e. not ‘normal’.
That’s not denigrate ‘specialness’ and emphasize ‘normality’. The value of living in a democratic society is the expansion of possibility. When we narrow options and narrow culture to something familiar then we’ve narrowed the possibility of our imaginations. Artists know this intuitively and it’s part of the artistic ideology. The language used often contrasts boring vs. exciting, narrow vs. unlimited, possible vs. impossible, etc. It’s why there are protests against turning studios into condos, and freak-outs seeing gym-thugs in former gallery spaces turned into magazine-layout restaurants. Because a narrow frame of possibility has been drawn around something that was once more vague and voluntarily undefined.
We are still at a point socially where we don’t know how to recognize what ‘drooling kids’ have to offer, and prefer to shape people into suits, give them Blackberries and expect them to buy a house or a condo. If they jump through the required hoops to adopt ‘the form’ then it doesn’t matter if their lives are empty of meaning. All that’s important is that they look like they have something to offer (even if what they end up offering is 40+ hours of their lives a week to make their bosses’ lives easier).
(Moser points out that Canadians don’t like to talk about class, but it’s a North American and Commonwealth phenomenon – an aspect of colonial legacy. Class is part of the human psyche, and it’s an achievement of post-colonial civilization to down-play it, and a failure to see it become resurgent. Just as taught hygiene keeps certain diseases away, it’s representative of educational failure when a type of psychological typhoid manifests itself again.)
Thus, good art should bring us unfamiliar experiences. (Although, I have to say here, I’m pissed off when artists seem to chose to bring us negative unfamiliar experiences, emphasizing the disgusting and annoying as if that is somehow worth experiencing). Good art should help make us aware of the variety of possibility.
But the definition of Art itself has become too narrow to fully incorporate the explosion of creativity that we have been made aware of through the internet. Consider that in less than two years, an entirely new dialect has been created through the captioning of funny cat pictures. Oh Hai! This wasn’t controlled or planned, but just happened … through humour and through our innate sense of how (our) language works. In as much as I’m an old fashioned humanist, I am so because human beings remain consistently surprising and creative. And the arts have remained valuable and evolved away from Van Gogh landscapes into rice-cooking because in the past century, specialization and over-rationalization have become ideological, to the point that structure is confused with form and appreciated over content. We are a civilization in love with the shape of bowls, but care little about what fills them. Thus, we have edible items without nutritional content, bodies trained to exert forces unrequired for playing video games, and photographs in closets mocking the way we looked twenty years ago. And, an artist once known for filling bowls now gets away with closing doors with walls, a form contrived to evoke content forty-years out of date.
Art schools are schizophrenically complicit in this: while they teach future artists to be critical of the shapes of society, they also expect artists to fit into these shapes, to make familiar art while attempting to make unfamiliar art as well.
Perhaps it is no wonder that so much contemporary art is as bad as it is. When I was recently graduated, I used to tell myself and others that it was impossible to suck, since the anarchism on display in galleries was impossible to judge. But we still want to judge it, we want to be able to say ‘good’ or ‘bad’, and that means we each need some personal standard. What I’ve learned in the years since graduating is that artists do indeed have personal standards, and for the most part, the cliques within the art communities come together around a shared standard … but this is unpredictable, and often dependent on who one’s teacher was at whatever particular school one went to.
This insight has discredited cultural criticism for me. It is an incompatible position to want cultural anarchy as an allowance of possibility and an expansion of potential inspiration, and at the same time to want culture narrowed to the familiar and the immediately comprehensible. Personally, I haven’t quite got that down yet, and still get pissed off in galleries when I see easy work that looks like it’s wasting my time.
But I understand this duality exists in my mind because I’m a person born into the late 20th Century and seeking an expanded open future in the 21st. I am trying to unlearn 20th Century culture and learn the 21st Century one. Which is to say, I’m trying to reject the shit of the past in order to be a type of person which I feel would fit the 21st Century world that I want to live in. The 20th Century narrowed possibilities to binary check-boxes: apocalypse or utopia; 1 vs. 0, employed vs. unemployed, male vs. female, businessman or hippy, movie vs. theatre … etc. A little bit of history shows that people didn’t always live that way.
So, all this being said, I’ll sum it up this way: the Mammalian Diving Reflex projects are awesome, they’re fun, and they’re Darren’s admitted attempts to change his world by expanding his own horizons. Some people don’t get it and they’re allowed to. Some people don’t get it because they’re trying to fit a round peg into the art-world’s square hole. I get it in an idiosyncratic way that I hope I’ve shared, and in so doing hope that I’ve helped illuminate something for others. – Timothy
Believing in Creationism conveys a reproductive advantage in attracting other Creationists.
Thus, by not breeding with those who believe in Evolution, Creationists are proving the theorem of those they oppose.
ILLUMINATIONS Art in the Age of Terror
What does it mean to be an artist in the age of terror?
In our own age, as the theatre of war intrudes into our living rooms, as war increasingly becomes a spectacular media event, has the role of art vis à vis war undergone a radical change? Neil Murray, Executive Producer of the National Theatre of Scotland and Laurie Anderson, creator of the “concert-poem” Homeland (next page) are among the panelists in this discussion. Also participating are philosopher and essayist Mark Kingwell, and Jeffrey Dvorkin, professor of journalistic ethics at Georgetown University. Moderated by John Ralston Saul.
With support from: British Council
Opposition to Copyright reform
from: Timothy Comeau
to: Peggy Nash
cc: Jim Prentice, Prime Minister of Canada, Stephene Dion, Jack Layton
date: Thu, Jun 12, 2008 at 2:10 PM
subject: Opposition to Copyright reform
While I respect the Government’s desire to update copyright
legislation to be fair to all parties within the 21st Century’s
digital environment, I do not feel that the legislation introduced
today is close to achieving that goal. Rather, it attempts to
legislate into law the 20th Century status quo, wherein the consumer
is subject to terms and conditions imposed by producers without
negotiation.
I very much object to the idea – introduced in the bill – that posting
copyrighted material online (specifically pictures) could make one a
criminal. This would have a serious effect on blogging, where it has
become normal to re-post images copied from the source. In fact, it is
often used as a mean to link to the original source. And blogging is
one of the examples of the transformative effect the net has had on
our culture … a vibrant arena for debate, discussion, and the
dissemination of new knowledge. To make any part of its culture
illegal would be equivalent to introducing limits to the freedom of
expression, or – in 20th Century language – to interfere with the
freedom of the press.
This law fails to recognize net-culture as it has developed over the
past decade. There needs to be a fair-use provision which is clear,
and which allows the posting of material within legitimate contexts,
such as those that are promotional and educational.
The Toronto Star has this breakdown
“you could copy a book, newspaper or photograph that you “legally
acquired.” But you couldn’t give away the copies. And you can’t make
copies of materials you have borrowed.”
-with regards to the photographs, this would make a site such as this
(Keil Bryant’s Flickr page, which I enjoy browsing because we share an
interest in such s-f imagery) illegal, if Bryant were Canadian. It
would also become illegal (as I understand it) for me to save a copy
of any of these images for my collection.
http://www.flickr.com/photos/kielbryant/
– “- it would be illegal to post a copyright work — picture, song,
film — on the Internet without the permission of the copyright owner.”
As written above re: blogging
As a final word, the Government of Canada would be well advised to
consult with ‘share-holders’ who are representative of the base of
potential inf ringers: those under 35, who’ve grown up with VCRs and
computers. It has so far failed to do so. For those us (such as
myself) representative of this generation, a series of social norms
have developed with regard to material on the net. Trying to
criminalize downloading would be like trying to criminalize the great
Canadian tradition of saying ‘sorry’ when someone bumps into us.
Whatever legislation is introduced, technological circumvention along
with a young person’s ingenuity would counter it within 6 months (like
the jail-broken iPhone cracked by a kid in New York State two months
after its release). Under the new law, it would be illegal for future
young men ‘who hate AT&T’ do to so. We would thus be deprived of the
right to use a device with a contract we thought was fair.
We do not want to be beholden to the one-sided contracts which limit
our freedom to access digitized cultural material. In the 21st
Century, the more liberal (no pun intended) the copyright law, the
more creative the society is allowed to be. I disagree with Richard
Florida that the path to 21st Century wealth is the enforcement of
intellectual property laws, but I do agree with him that a
society/city’s wealth is a measure of its creativity … it’s a
question of how one’s define wealth. I do not define it in terms of
money, but rather in terms of inheritable, sharable, cultural
products. We thus currently enjoy a net of cultural wealth, and this
bill would seek to impoverish us all in favor of the more narrow
definition of wealth as a measure of how much a company can squeeze
from a consumer.
Timothy Comeau
timothycomeau.com
————————–
[also posted on Goodreads]
When I learned of this late last week, I thought it would have been something awesome to go to.
Until I saw the pictures.
The deets:
Monday, May 26, 6:30 PM – 8:30 PM
Munk Debates
Be it Resolved that the world is a SAFER place with a REPUBLICAN in
the White House
Discussant: Charles Krauthammer
Discussant: Niall Ferguson
Discussant: Samantha Power
Discussant: Richard Holbrooke
Co-Sponsored by The Globe and Mail, Royal Ontario Museum, Salon
Speakers Series, Aurea Foundation, Munk Centre for
International Studies
Registration: Tickets available only at: http://www.munkdebates.com
The Royal Ontario Museum
100 Queen’s Park Crescent
Toronto, Ontario
timothycomeau.com/onkawara
defaults write com.apple.finder AppleShowAllFiles TRUE
killall Finder
defaults write com.apple.finder AppleShowAllFiles FALSE
killall Finder
I just found this laying around the hard-drive. It’s something I wrote at the beginning of February, meant as a reply posting on a web-forum before I abandoned it as too long and potentially off-topic. I also read it now and think it dates me as a 30-something pre-Millennial with 20th Century memories. I’m not so sure the sentiments herein expressed would resonate with early 20-somethings who hate old art as being too much Church-stuff. I’m also not sure how many 20-something artists are dealing with legacy-Marxists on a regular basis, as I have over the past decade.
***
One of the lessons of the 20th Century was that the world changes every ten years. Each decade compressed the changes of a mediaeval century, and yet the arts don’t seem to have clued into this. My reason for pursuing the arts came from it’s humanism, as expressed especially in the 1960s, which I now recognize as being part of the Western World’s healing process following World War II. As a teenager, the Time-Life series on artists produced at that time were an introduction to a cultural world that I was not being taught in my rural Nova Scotia school.
The humanistic aspect of the arts is still what politicians and journalists are likely to throw at us – the arts encourage ‘life’ with mystical overtones. I now understand why that was propagated in the years following the Second World War, but by the time I went to art-school (following the idea that a cultured life was the one the most worth living) I ran into bitter and disagreeable adults who hated the word `beauty`, hated the word `humanism`, and instead taught me to be angry with capitalism, patriarchy, corporations and the other suspects. Thus enraged, I was then encouraged to express my thoughts on the matter through obfuscation, conceptual trickery, (and those other usual techniques) not in writing – since I was expected to be only barely literate – but my making something to be exhibited in a plain white room.
Once out of art school, I thought of myself as a young professional trained in my field and yet found that income-via-arts-employment was rare, the already-expensive credentialing inadequate, and the grant system to be more of a nepotistic lottery, and no one was as smart as they thought they were; more or less they were merely quoters, not thinkers. Old ideas, not new. As long as they could throw a quote at you from one of those bitter French men (they who hated capitalism, humanism and the usual) then they considered themselves not only smart, but superior, and it didn’t matter if their day jobs did not coincide with their training. We were all channeled into a bohemian life of obscurity and intellectual self-deception.
My sense then is that the arts professionals of Canada have totally lost track of the game. They are very quick to adopt the thinking of foreigners while denigrating their home culture. Their greatest ambition is to leave the country. Trained to be hateful of contemporary society, they are too disagreeable to be employable by the corporations who could use them. And here it comes back to the humanistic heritage – your average person who respects the arts does so because of that humanistic heritage, and yet the too-cool-for-school artist today will quickly mock this superficial understanding.
Why then, is there little art is schools? Perhaps because ’sensible’ adults don’t want their kids around the bad influence of either hippy-dippy mystics or disgruntled communists. Those of us who understand why that is an oversimplification and an unfair stereotype are the ones who probably already have their kids involved in the arts. They’re not as rare as we may think, and highlights the political thinking against universalizing art education – politicians think parents-who-want-it find a way outside of the public system. It’s a lifestyle option, and an ethnically specific one at that.
My own, disillusioned sense, is that the arts do not have the value invested into them by 19th Century European snobs. I never use the word `disinterested` for example, except when talking Kantian aesthetics. The writings of John Ruskin I find to be mostly unreadable due to being obsolete. Clement Greenberg, nor Andy Warhol, ever heard the word ‘email’ in their lifetime, let alone ‘world-wide-web’. For that matter, Warhol never got the chance to use Photoshop.
Industrial manufacturing has given us a world of aesthetically pleasing products, and talent for image making is now found in the worlds of design and illustration. (Jutxapoz magazine). Installation art tends to amount to bad set design, and performance art to bad acting. I see better art videos on YouTube than I do in galleries, and on YouTube they don’t try to be art. If you consider the Mona Lisa to be the first viral image, it’s easy to extend the consideration to how much a viral video has passed the test of the audience, making it legitimate art.
These are examples of how our world has changed, and I feel like ‘the visual arts’ are a fossilized cultural product from at most, the 1980s. Future historians will look to illustration, design, and films to gauge our culture, and especially the YouTube archives. Like the photography of a century ago, it’s the stuff taken with Kodaks that are of interest, not the stuff trying to imitate romantic paintings.
If we want to have galleries in our towns and cities, it is important that we all understand why they are important. I still value art for it’s humanism. But our culture is so creative outside of galleries, and it is this creativity that is accessible to people who haven’t studied art. The argument shouldn’t then be to have an art for those professionals – it should be accessible to all. A life in the arts should broaden one’s possibilities, not narrow them to the life of a clique.
When people talk about `art` these days, I no longer know what they’re talking about. I suspect they are talking about some hipster club they don’t want a corporate dork to join. But that exclusion denies someone who needs art is their life from having it – and the result is Canadian culture in 2008.
I sat at the table waiting for my order to be ready. It came on the radio again, the second time I’d heard it that day. An earlier radio speaker, in the morning rain.
[audio:spring2008.mp3]
Hearing it this second time, I flashed forward fifteen years. One day in the early 2020s, I’ll hear it buried on a radio playlist, and think back to these days. Just as I do with these songs:
[audio:spring1990.mp3]
Which always reminds me of the early summer of 1990. Specifically, hearing it on the car radio in the Annapolis Valley. But of course, there are also the memories of dancing to it weekend nights in 1994.
This
[audio:spring1991.mp3]
reminds me of gardening in the summer of 1991.
and this
[audio:1992.mp3]
brings me back to that year, half-way down the aisle under the ‘fresh’ sign in this grocery store, looking back toward the camera’s viewpoint.
But while we’re at it, let’s keep in mind that this time next year, this:
[audio:1989.mp3]
will be twenty years ago.
Warren Wagar, A Short History of the Future, page 244:
…sharp witted, yet outgoing and cooperative, the young members of Homo Sapiens altior fashioned a new model of human behavior ideally suited for life in autonomous communities. They were less inclined than the old human type to take advantage of others and too intelligent to be taken advantage of themselves. Their extraordinary powers of mind and heart were another form of wealth, shielding them, as ample personal incomes and education helped to shield everyone, from the age-old tendency of most of Homo sapiens to fall victim to predators.
As integration deepens, the generation whose identity was created by separation can feel left behind, betrayed, and lash out … at other members of the minority.
– Andrew Sullivan, parsing Wright, Sharpton, and Obama
You’ve suggested that there might be certain functions of the mind, certain aspects of consciousness, that don’t have a material foundation.
Yes.
Advanced contemplatives in the Buddhist tradition have talked about tapping into something called the “substrate consciousness.” What is that?
Just for a clarification of terms, I’ve demarcated three whole dimensions of consciousness. There’s the psyche. It’s the human mind — the functioning of memory, attention, emotions and so forth. The psyche is contingent upon the brain, the nervous system, and our various sensory faculties. It starts sometime at or following conception, certainly during gestation, and it ends at death. So the psyche has pretty clear bookends. This is what cognitive neuroscientists and psychologists study. They don’t study anything more. And they quite reasonably assume that that’s all there is to it. But as long as you study the mind only by way of brain states and behavior, you’re never going to know whether there’s any other dimension because of the limitations of your own methodologies. So here’s a hypothesis: The psyche does not emerge from the brain. Mental phenomena do not actually emerge from neuronal configurations. Nobody’s ever seen that they do.
So your hypothesis is just the reverse from what all the neuroscientists think.
Precisely. The psyche is not emerging from the brain, conditioned by the environment. The human psyche is in fact emerging from an individual continuum of consciousness that is conjoined with the brain during the development of the fetus. It can be very hampered if the brain malfunctions or becomes damaged.
But you’re saying there are also two other aspects of consciousness?
Yeah. All I’m presenting here is the Buddhist hypothesis. There’s another dimension of consciousness, which is called the substrate consciousness. This is not mystical. It’s not transcendent in the sense of being divine. The human psyche is emerging from an ongoing continuum of consciousness — the substrate consciousness — which kind of looks like a soul. But in the Buddhist view, it is more like an ongoing vacuum state of consciousness. Or here’s a good metaphor: Just as we speak of a stem cell, which is not differentiated until it comes into the liver and becomes a liver cell, or into bone marrow and becomes a bone marrow cell, the substrate consciousness is stem consciousness. And at death, the human psyche dissolves back into this continuum.
So this consciousness is not made of any stuff. It’s not matter. Is it just unattached and floating through the universe?
Well, this raises such interesting questions about the nature of matter. In the 19th century, you could think of matter as something good and chunky out there. You could count on it as having location and specific momentum and mass and all of that. Frankly, I think the backdrop of this whole conversation has to be 21st century physics, not 19th century physics. And virtually all of neuroscience and all of psychology is based on 19th century physics, which is about as up-to-date as the horse and buggy.
(source)
John Adams: Spring 1772
Government is nothing more than the combined force of society, or the united power of the multitude, for the peace, order, safety, good, and happiness of the people … There is no king or queen bee distinguished from all others, by size or figure of beauty and variety of colors, in the human hive. No man has yet produced any revelation from heaven in his favour, any divine communication to govern his fellow men. Nature throws us al into the world equal and alike … (source)
***
The preservation of liberty depends upon the intellectual and moral character of the people. As long as knowledge and virtue are diffused among the body of a nation, it is impossible they should be enslaved …
(source)
***
Ambition is one of the more ungovernable passions of the human heart. The love of power is insatiable and uncontrollable…
There is danger from all men. The only maxim of a free government ought to be to trust no man living with power to endanger the public liberty. (source)
***
Better that many guilty persons escape unpunished than one innocent person should be punished. “The reason is, because it’s of more importance to community, that innocence should be protected, than it is, that guilt should be punished.” (pg 68) -Quoted from The Legal Papers of John Adams, Vol III, 242
In writing this book, I have made a host of spelling “mistakes”, but have paid them no heed. Each has been signaled clearly by a red line that my computer’s U.S. text system inserts beneath the offending word. The mistakes aren’t really mine, though; they are Macdonald’s. He had an order-in-council passed directing that the government’s papers be written in the British style, as with “labour” rather than “labor”.
(p66) In 19C Canada, the observation that all politics is local would have been treated not as insight but as a banality. With occasional exception, such as the campaign to achieve Responsible Government by Population, almost all politics was about local issues. Debates that engaged the general public were almost always those inspired by sectarianism – French vs English, Catholic vs Protestant, and sometime Protestant vs Protestant, as between Anglicans and Methodists. Just about the only non-religious exception to the rule was the issue of Anti-Americanism; it was both widespread and, as was truly rare, a political conviction that promoted national unity because it was held as strongly by the French and by the English.
Almost all politics was local for the simple reason that almost everyone in Canada was a local: at least 80% of Canadians were farmers or independent fishermen. Moreover, they were self-sufficient farmers. They built their own houses. They carved out most of their implements and equipment. They grew almost all their own food (tea and sugar excepted) or raised it on the hoof. They made most of their own clothes. They made their own candles and soap. Among the few products they sold into commercial markets were grain and potash. Few sent their children to school. They were unprotected by policemen (even in the towns in Upper Canada, police forces dates only from the 1840s). For lack of ministers and priests, marriages were often performed by the people themselves. Even the term ‘local’ conveys a false impression of community: roads were so bad and farms spaced so far apart that social contact was limited principally to ‘bees’ – barn and house raising, stump clearing and later, more fancifully, quilting.
Government’s reach in Canada was markedly more stunted than in England. While there had been a Poor Law there from 1597, the first statute of the Legislature of Upper Canada provided specifically that ‘Nothing in this Act … shall introduce any of the laws of England concerning the maintenance of the poor’. (The Maritimes, then quite separate colonies, had both Poor Laws and Poor Houses). The churches were responsible for charity, and in some areas for education (The first legislation in British North America to establish free education was in Prince Edward Island in 1852. Nova Scotia followed in 1864, and Ontario only after Confederation). It was the same for that other form of social activism, the Temperance Societies, commonly brought into being by the Methodist, Presbyterian and Baptist churches. The unemployed were ‘the idle poor,’ and no government had any notion that it should be responsible for their succor. Governments collected taxes (almost exclusively customs and excise duties) and were responsible for law and order, maintaing the militia, and running the jails, where the idea of rehabilitation as opposed to punishment was unknown. But without income tax, there was comparatively little the government could do even if it wished. Consequently, the total spending on public charities, social programs and education amounted to just 9% of any government’s revenues. To most Canadians in the middle of the 19C, government was irrelevant to their day to day lives as it is today to the Mennonites, Hutterites and Amish.
[…] In mid to late 19C Canada, conservatism was as widely held a political attitude as liberalism would become a century later. It took a long while for things to change. In one post-Confederation debated, in 1876, held during an economic depression, a Liberal MP argued that the government should assist the poor. Another MP rounded on him to declare “The moment a Government is asked to take charge and feed the poor you strike a blow to their self-respect and independence that is fatal to our existence as a people.’ The shocked intervenor was also a Liberal, as was the government of the day.
Amid this emphasis on the local, there was, nevertheless, one broad national dimension. Governments were remarkably ready to go into debt – proportionally more deeply than today – to build up the nation itself. Here, Conservatives were actually greater risk-takers than the Reformers. Bishop Joseph Strachan, a leading member of the arch-conservative Family Compact, held that ‘the existence of a national debt may be perfectly consistent with the interests and prosperity of the Country’. In the early and middle part of the century, mostly Conservative governments bankrolled major public projects – first canals, such as the Welland, the Lachine and the Rideau – and then a spiderweb of railways, nearly all of them money-losing. The Conservatives were, of course, undertaking projects that benefited their supporters, but they were also building the country. [… p 69]
p. 89 A great many Canadians have come to assume that their country began on July 1 1867, not least because we celebrate each year the anniversary of Confederation. But Confederation wasn’t the starting point of all that we no have and are. It developed from its own past, and that past, even if now far distant from us, still materially affects our present and our future.
The most explicit description of the continuity of Canadian politics across the centuries is made by historian Gordon Stewart in his book The Origins of Canadian Politics. There he writes, “The key to understanding the main features of Canadian national political culture after 1867 lies in the political world of Upper and Lower Canada between 1790s and the 1860s.” His argument, one shared fully by the author, is that all Canadian politics, even those in our postmodern, high-tech, 21st Century present, have been influenced substantively by events and attitudes in the horse-and-buggy Canada of our dim past.
[…]
The catalyst of fundamental change in pre-Confederation politics were the rebellions in 1837-38 by the Patriotes in Lower Canada led by Louis-Joseph Papineau, which was a serious uprising, and by the rebels in Upper Canada led by William Lyon Mackenzie, which was more of a tragicomedy. Both uprisings provided a warning to London that, as had gone the American colonies a half-century earlier, so the colonies of British North America might also go. To deal with the crisis, the Imperial government sent out one of its best and brightest.
John George Lambton, Earl of Durham, arrived accompanied by an orchestra, several race horses, a full complement of silver and a cluster of brainy aides, one of whom had achieved celebrity status by running off with a teenage heiress and serving time briefly in jail. Still in his early forties, ‘Radical Jack’ was cerebral, cold, acerbic and arrogant. After just five months in the colony, he left in a rage after a decision of his – to exile many of the Patriotes to Bermuda without the bother of a trial – was countermanded by the Colonial Office. Back home, he completed, in 1839, a report that was perhaps the single most important public document in all Canadian history. Lord Durham himself died of TB a year later.
Parts of Durham’s report were brilliant; parts were brutal. The effects of each were identical: they both had an extraordinarily creative effect on Canada and Canadians. The brutal parts of Durham’s diagnosis are, as almost always happens, much the better known. He had found here, he declared, “two nations warring in the bosom of a single state … a struggle, not to principles, but of races (Durham’s use of the word ‘race’ will strike contemporary [readers] as odd. It was used then to describe people now usually referred to as ‘ethnic groups’.) The French Canadians, les Canadiens, had to lose – for their own sake. They were ‘a people destitute of all that could constitute a nationality … brood[ing] in sullen silence over the memory of their fallen countrymen, of their burnt villages, of their ruined property, of their extinguished ascendancy.’
In fact, Durham was almost as hard about the English in Canada. They were ‘hardly better off than the French for their means of education for their children.’ They were almost as indolent: ‘On the American side, all is activity and hustle … On the British side of the line, except for a few favoured spots, all seems waste and desolate.’ He dismissed the powerful Family Compact as ‘these wretches’. Still, he took it for granted that Anglo-Saxons would dominate the French majority in their own Lower Canada. ‘The entire wholesale and a large portion of the retail trade of the Province, with the most profitable and flourishing farms, are now in the hands of this dominant minority.’ All French Canadians could do was ‘look upon their rivals with alarm, with jealousy, and finally with hatred.’
The only way to end this perpetual clash between the ‘races’ Durham concluded, was there to be just one race in Canada. The two separate, ethnically defined provinces of Upper Canada and Lower Canada should be combined into the United Province of Canada. As immigrants poured in from the British Isles, the French would inevitably become a minority. To quicken the pace of assimilation, the use of French should cease in the new, single legislature and government. To minimize the political weight of Lower Canada 650,000 people, compared with Upper Canada’s 450,000 each former province, now reduced to a ‘section’ should have an equal number of members in the new legislature. (Officially, Upper Canada now became Canada West, and Lower Canada became Canada East. In fact, almost everyone continued to refer to the new sections by their old titles … In fact, the legislature re-legalized the use of the old Upper and Lower Canada terms in 1849).
Durham’s formula worked – but backwards. Quebec’s commitment to la survivance dates less from Wolfe’s victory over Montcalm [in 17x] (after which the Canadiens’ religions and system of low were protected by British decree) than from 1839, when Durham told French Canadians they were finished. The consequences of this collective death sentence was an incredible flowering of a national will to remain alive. (A parallel exists with the publication in 1965 of George Grant’s Lament for a Nation predicting Canada’s inevitable absorption by America. In response, English-Canadian nationalists suddenly stood on guard for their country).
[…]
Few in Upper Canada noticed [the flowering of French-Canadian self-awareness]. Their attention was focused on the other part of Durham’s report, one calling for a totally different kind of Parliament. It was to be a responsible Parliament, with a cabinet composed of member of the majority party rather than chose at the pleasure of the governor general. In a phrase of almost breathtaking boldness, Durham wrote, ‘The British people of the North American Colonies are a a people on whom we may safely rely, and to whom we must not grudge power.’
– Richard Gwyn, John A. Macdonald Vol I 2007
The prevalence of pedantry at Rome was quickly followed by a decline of true taste, by a contempt of simplicity and nature, and by the substitution of false and affected beauties. Before the close of Augustus’s reign, a certain effeminacy of style insinuated itself at court; and the malignant criticisms of Asinius Pollio, and of his son Asinius Gellius, on the language and compositions of Cicero, greatly conduced to wean the Romans, as Denina expresses it, from that great fountain of Latin oratory. Eloquence was no longer to be seen in an elegant undress, but was always tricked, and flounced, and highly decorated with the studied graces of novelty, or the attractive glitter of points, of witticism, allusions, and conceits. The want of real dignity was supplied by a pompous strut; and artificial flowers were profusely scattered to conceal the decay of Nature’s sweetest blooms.
–The British Cicero: Or, a Selection of the Most Admired Speeches in the English Language; By Thomas Browne, 1808
***
It was the custom of those Roman Nobles, to spend their leisure, not in vicious pleasures, or trifling diversions, contrived, as we truly call it, to kill the time; but in conversing with the celebrated Wits and Scholars of the age: in encouraging other people’s learning, and improving their own: and here Your Lordship imitates them with success….
Conyers Middleton, Dedication to Lord Hervey / ‘The History and the Life of Marcus Tullius Cicero, 1755 viii
Despite Canada’s status as one of the larger donors, it has failed to meet a commitment to donate 0.7 per cent of its gross domestic product to the Millennium Project, despite a resource boom over the past few years that generated considerable economic wealth. Mr. Sachs said he was told on one occasion by a cabinet minister that Ottawa couldn’t boost its aid to meet this target because it would threaten the country’s budget surplus.
– Jeffery Sachs in today’s Globe & Mail: Canada deaf to growing hunger crisis, UN aide says by Sinclair Stewart and Paul Waldie
Norman Mailer: ‘One of the reasons Franklin Delano Roosevelt was so beloved one of the reason Jack Kennedy was so mourned is they were two of the rare examples of presidents trying to make the country more intelligent. They didn’t jump the easy conclusions all the time. When Roosevelt said ‘the only thing to fear is fear itself,’ he was introducing a concept into the public mind. He trusted the public to the extent that you could talk to them that way. Jimmy Carter tried but didn’t succeed. Remember he used that word ‘malaise’; ‘the country’s suffering from a malaise’ and of course that bombed. Well, Jimmy Carter had very good instincts up to a point but he didn’t have a sense of how to deal with the public. It’s a peculiar ability to raise the intelligence of the public and still know how to talk to them. [emp mine]
Norman Mailer, speaking in March 2006 (Mp3; 17:39):
NM: A democracy is a most delicate form of government, the most delicate, that’s why it took so long to arrive in history. It depends on the language of the people becoming more artful and richer, and more elevated if you will, over the decades and the centuries. And it depends upon more and more creativity and substantiality and fine institutions and high development. And Bush is a negative force against that because he reduces language. He’s an abominable speaker. He hide behind his … I won’t get into what he hides behind.
Dotson Rader: You’re making what are essentially aesthetic objections to Bush, which to the American people, the great unwashed performing seals out there they see as elitist. You’re not making political objections. You understand what I’m saying? You’re talking about ‘he’s debasing the language’ – well, advertising debases the language. The whole culture of America is one vast debasement of language.
NM: I will insist on one thing. A democracy is dependent on wonderful language, upon the language improving not deteriorating. This country was fabulous in the days of Franklin Delano Roosevelt because he spoke so well. The small taste we had of Jack Kennedy gave us the huge sense of will he felt … here was this intelligent man who obviously was indicating in subtle ways that he also wanted to improve the level of intelligence in politics and in America. Democracies are delicate. The opposite end of a democracy is fascism, always. Fascism is much more implanted in our nervous system than democracy. When we’re children, when we’re one, two, three, four years old, willy-nilly with the kindest parents in the world we’re nonetheless living in a fascistic environment if you will, a totalitarian environment, which is ‘do as you’re told’ we say to a child with all the art in the world, the child grows up knowing in some part of themselves that obeying orders is not the worst thing in the world.
DR: Well, I would say it’s a structured environment, I wouldn’t say it’s a fascistic environment.
NM: Well, the word is unpleasant and causes … but I want to underline and exaggerate it for a very direct reason. Which is democracies are always in danger of becoming fascistic, if they they turn corupt, if the people don’t become more and more intelligent and illumined, as they go along, through history, then they tend to deteriorate. I’ve said this over and over: one of the reasons the English did not collapse and go to pieces given all their reversals in the 20C is Shakespeare; just as the Irish, without Joyce, would have been much less. Now I’m not saying this just and only because I’m a semi-talented novelist. I’m saying it because language is immensely important, immensely important and Bush destroys it every time he opens his mouth.
~Earlier the same day:Norman Mailer on the Leonard Lopate Show (Mp3; 25:20), 2 March 2006
Norman Mailer: A democracy in my mind depends, absolutely depends upon the populace becoming more and more intelligent and sensitive and aware and nuanced over the decades. When a democracy becomes more stupid it’s in danger of becoming fascistic. It’s the duty I would say of a president to make a nation more intelligent. One of the reasons Franklin Delano Roosevelt was so beloved one of the reason Jack Kennedy was so mourned is they were two of the rare examples of presidents trying to make the country more intelligent. They didn’t jump the easy conclusions all the time. When Roosevelt said ‘the only thing to fear is fear itself,’ he was introducing a concept into the public mind. He trusted the public to the extent that you could talk to them that way. Jimmy Carter tried but didn’t succeed. Remember he used that word ‘malaise’; ‘the country’s suffering from a malaise’ and of course that bombed. Well, Jimmy Carter had very good instincts up to a point but he didn’t have a sense of how to deal with the public. It’s a peculiar ability to raise the intelligence of the public and still know how to talk to them.
From Bad Writing’s Back by Mark Bauerlein :
Still, despite the mannered presentation, Just Being Difficult? and previous pro-theory statements do forward responses that deserve a hearing. Theorists devote long paragraphs to them, but they can be distilled into blank assertions and treated as hypotheses. They are:
[…]
Scientists have their jargon—why can’t theorists have theirs?
Again, this is a valid question with a simple pragmatic answer. The public tolerates scientific jargon and not theory jargon because it believes that scientists need jargon to extend their researches and produce practical knowledge that benefits all. Only when scientists appear to abandon the common good does their language come under attack (for example, Swift’s portrait of mathematicians in Book III of Gulliver’s Travels, or contemporary ridicule of sociologese and psychobabble). Come the day when the theorists are able to demonstrate that their jargon enhances human life, and isn’t just pretension and science-envy, public mistrust of them will end. Constantly claiming to foment social justice isn’t sufficient.
[…]
The United States is an anti-intellectual nation, and its national publications follow the trend.
Most theorists take American anti-intellectualism for granted, and Brooks suggests that cultural journals have adopted the Right-wing view, although “there is perhaps no point in lamenting the decadence of the serious cultural journals since journals of any sort mainly go unread at present”. This is silly academic parochialism as its most cocksure. Theorists who lament the absence of serious criticism in the magazines and newspapers should limit their point to the fact that their version of criticism has no public venue. In truth, learned criticism appears in magazines and newspapers all the time. The New Republic (circulation 100,000 a week) publishes lengthy review-essays on scholarly subjects by humanities professors (e.g., David Bromwich, David Freedberg, and Lawrence Lipking), as does the New York Review of Books. The Nation publishes art criticism by Arthur Danto and literary essays by Morris Dickstein; and reviews in Atlantic Monthly by Benjamin Schwarz and others meet high intellectual standards. Wall Street Journal editor Erich Eichman allows academic reviewers 800 words on university press books covering unusual subjects, and the Los Angeles Times and Boston Globe have deliberately raised the content of their weekly reviews. Moreover, although Commentary and The New Criterion haven’t the subscriptions of the others, like the now-closed Partisan Review in earlier times, their influence reaches to politicians and public intellectuals. Dutton’s own webpage, Arts and Letters Daily, receives over two million page views per month. I could go on, but suffice it to say that the notion that public discourse in the U.S. is vulgar and decadent is an absurdity that academics should give up immediately.
[…]
With Hulme, creative artists break down the “standardised perception,” then “induce us to make the same effort ourselves and make us see what they see.” He doesn’t consider the case of the artist who works alone, forever estranged from the crowd. Adorno doesn’t talk about social success in the same way, but we can judge his effect simply by naming the people he influenced. These include not only contemporary theorists but also mid-century mass culture critics Dwight Macdonald, Clement Greenberg, Irving Howe, and others centered around Partisan Review—an audience skeptical and dogged enough to verify his brilliance.
We should apply the pragmatic test to today’s theorists. What if in the end nobody abandons common sense and adopts the theory habit? Butler aims to “provoke new ways of looking” and Culler repeats Emerson’s dictum, “Truly speaking, it is not instruction but provocation that I can receive from another soul,” but what if nobody is provoked? This is not quite the same verdict that Leftist critics of bad writing such as Katha Pollitt, draw, namely, that the theorists’ recondite language cuts them off from real politics. Rather, it recalls the simple truth that, as a matter of historical record, only certain disruptions thwart common sense and alter the world. In a word, the “anti-styles” only work if they create as well as destroy. If ordinary language is a repository of naturalized values, then the artist/critic’s counter-language must supply other values in infectious, admissible ways: one common sense world collapses only if another takes its place. If you propose to explode certain attitudes and beliefs, and to do so by disrupting their proper idiom, then you must compose a language compelling, powerful, memorable, witty, striking, or poignant enough to supplant it. Your language must be an attractive substitute, or else nobody will echo it.
Needless to say, the theorists haven’t achieved that and never will. A genuine displacement comes about through an original and stunning expression containing arresting thoughts and feelings, not through the collective idiom of an academic clique smoothly imitated by a throng of aspiring theorists. [emph mine] The writings of Pound, Mallarmé, Faulkner, and H.D. each form a unique signature and inspire theorists to daring interrogations, but few idioms are as conventionalized as 1990s critical theory. In her op-ed, Butler mentions slavery as a common-sense notion that had to go (Warner echoes the self-inflating comparison), but none of the abolitionists followed the “difficult writing” strategy. Frederick Douglass was a dazzling rhetorician, and Warner’s example, Thoreau, composed epigrams honored for their pithy brilliance. By comparison, theory prose is a clunker. Its success in the academy lies not in surprising conversions of common-sense minds, but in quick and easy replication by AbDs. If critics assume a duty to undermine common sense, very well, but they need to devise a different counter-speech, not insist on the value of their current one.
Marni Soupcoff called for the elimination of the artist grant system earlier this week and there’s been an expected response.
There are two types of artist I know: those who love the council-system and those who dislike it for encouraging ‘safe’ work.
I’m of the latter sort. My feelings are that the council system is made up of juries who are into one particular type of art. So, the assumption being that if you’re a painter specializing in the type of portraits and landscapes appreciated by grandmothers, you don’t have a chance of getting a grant. The so-called ‘safe’ work is whatever’s hip, and that’s impossible to pin down from year to year: it’s a fashion, it moves through communities as people imitate one another, it’s original source unknown and unimportant. In today’s globalized culture, the determination of what’s hip is dominated by bigger players, and is probably documented and originated in magazines like Artforum rather than C Magazine. (That’s a specifically visual-arts reference. There was a blurb I saw on a TV news channel scrawl saying that hip-hop is the least well funded of the all the art genres by the Canada Council, and yet hip-hop is obviously the most relevant music genre to most young people. The evident bias there is an example of my point).
I got a couple of grants in my time, and I appreciated them. They allowed me to execute projects without having to invest my own money, of which I had none. Looking back, I’m not sure if these projects meant much to society as a whole, which is why I no longer take the ‘art is important to society’ argument too seriously. I’ve come to think of art as something more private and personal. And I feel I make more money working than I would by relying on the hand-outs of grants and prizes. I dislike the current-system of cultural funding as it exists, but I wouldn’t support scrapping it altogether.
What I don’t like about this type of ‘taxpayer bitching’ is how the ‘angry conservative’ stereotype falls into ‘I don’t want them spending my money…’. I’ve always found this reason to be nonsense. I don’t understand why we don’t teach people to think of taxes as that salary we citizens pay toward the functioning of the state. Imagine if employers started saying, ‘I don’t want you spending my money on drugs, or drunken weekends, or McDonald’s hamburgers, or home stereo systems, or …’ etc. Employers know where to draw that line in minding their own business. We in turn should trust our governments to spend their funding responsibly, and when, as often happens, it is exposed that they haven’t been doing so, there should be scandal, there should be apologies and firings, and we appreciate the reforms that follow. Corruption should never be the norm, but it should never be unexpected either. ‘Show me a completely smooth operation,’ Frank Herbet wrote in one of his Dune novels, ‘and I’ll show you a cover up. Real boats rock.’ 1 In other words, human beings are never perfect, and we shouldn’t expect that.
It should not be the case however that the citizen comes to think of culture as an irresponsible expenditure, and yet that has been allowed to happen within my lifetime. We, as a first world nation, can afford to encourage the imagination. God knows we need to in this country.
We pay taxes and we expect a functioning public service and stable infrastructure in return. We aren’t the United States with a military industrial complex, wherein the government subsidizes global violence. We could instead have a cultural-industrial complex and the most we’d have to suffer is visual pollution and bad music, but it would be preferable to a painful and ugly death. Of course, this isn’t on the table because the money is currently in War, and so when we hear talk of Canadian governments trying to attract investment in science, we should ask, science for what? The fact that the Cdn Gov blocked the sale of MDA to land-mine-manufacturing ATK this past week shows that we aren’t immune to such questions and considerations.
When we are told triumphantly that the provincial and/or federal government is running a budget surplus, it is evident that they could be doing much more for the citizens. Unfortunately, a penny-pinching mentality has taken hold, which may be useful as private citizens (I’m currently in a penny-pinching mode myself) but I’m not sure it serves the public interest. If anything, governments should be more forthcoming about their plans for a surplus. Paying off some debt – fine. But holding on to it indefinitely? Not so fine. Are you trying to accumulate interest on the monies so that it grows further? Ok, sure. But when are we going to get a day-care system, and a guaranteed income, and bigger minimum wages, and fatter old-age pension cheques, and investment in affordable housing, better and more frequent public transit, lower tuition rates, cancellation of student-loan debt, and on and on…?
The government still seems to think that its constituents are ignorant people with personal attachments to numbers on pay-stubs who can somehow magically trace those exact numbers into the pockets of the so-called welfare mom all pissy because they’ve been legislated into civilized compassion. Soupcoff echoes this argument when she says ‘Canadians are accustomed to having their money transferred from their own bank accounts to those of the nation’s broadcasters, sculptors and poets.’ Soupcoff then plays a class-card, by writing, ‘Government funding ensures that every time these affluent aesthetes sit down to hear a live piano concerto, they enjoy a nice subsidy from lower-class taxpayers, who are sitting at home reading their Harry Potter books and listening to their Nine Inch Nails CDs. It just doesn’t seem fair.’
I for one have been to a live piano concerto, and that was when I could afford it under the TSO’s program of selling $12 tickets to those under 30. Since I’m now over 30, I haven’t been to the TSO in four years. I did however buy the latest Nine Inch Nails CD this past week, to listen to when I want a change from the classical music I used to stream from CBC 2 and which I now get from alternative outlets like Classical 96.3 or icebergradio.com. My personal example here to say that there’s room in life for both Harry Potter and Tolstoy, and that Nine Inch Nails is actually pretty good.
Class-based access to culture is the result of both education and pricing. But it’s also a question of interest. So what if some people just aren’t interested? I’m not interested in Harry Potter (I haven’t read any of the books or seen any of the movies) and in this binary I’m lucky: this makes me look like I made ‘the right choice’ to people like Harold Bloom, who would be happy to see me reading Macbeth if I was interested in magic. But if millions are loving Harry Potter, clearly I’m missing out on something. It’s just a question of taste. (And while Bloom has a point in questioning it’s literary value, life needs the occasional piece of candy).
Greater funding should translate in greater accessibility. The reward of the arts should be available to all. This argument justifies libraries: publicly funded knowledge made accessible. Would Soupcoff suggest we shut down all libraries because people can buy whatever books they want at Indigo/Chapters? My understanding is that type of argument would have been made in the 19th Century, when publicly funded childhood schooling was considered controversial. But we’ve come to take democratized education and accessible knowledge for granted. We are in the process of achieving a future society where the arts will also be taken for granted and be thus ensured against this type of financial short-sightedness. But we are not there yet.
Perhaps it needs to be said that the argument for ceasing funding was allowed to take hold because the arts were allowed to become incomprehensible. (It did not have to be that way, but that is past. The mistake is allowing it to continue).
To that end, Marni Soupcoff and I agree that, “The decision about what to watch — American Idol or A Beachcombers Christmas — should be one people make for themselves,’ but we do not agree that, ‘[it is]not one the government makes for them (or at least tries to: Despite its best efforts, the government still hasn’t succeeded in getting more than a handful of us to watch CBC television, even if we do pay for it).’ The Government doesn’t make us to anything. As for the CBC, our ‘failure to watch’ is indicative of the corporation’s mismanagement and cultural stupidity. They thought we wanted to watch ‘The One‘.
The traditionally called Higher Arts are more often than not rendered distasteful by being poorly taught, and those like myself who pursue them do so either because they weren’t taught at all (as in my case; no opportunity was taken to ruin them for me) or because the person has a inexplicable passion for them (which also used to be true in my case). Soupcoff: ‘But let’s be honest — who makes up the majority of the audiences of symphonies, art galleries and ballets? It’s middle-class and rich people who can afford to pay for their own entertainment.’
I hate ballet and I don’t understand why Karen Cain is a house-hold name and Jeff Wall is not. Nor, for that matter, why Rex Harrington’s retirement made it onto the CTV news in 2003. But it doesn’t bother me that it’s funded. I went to art school because I wanted to study the arts. For that I was seen by my conventional friends as being weird. I think it’s weird that Toronto has a ballet school, but that’s just to say I sympathize with its potential students, and I’m glad I live in a society where young girls who want to destroy their feet and starve themselves for the pleasure of jumping into the arms of a gay man have a place where they can go and feel welcome. In other words, it’s nice that people have options when it comes to doing something with their lives. And whatever encourages the broadening of those options is a good thing, even if it does to some seem weird.
To that end, we have the arts: it is the realm of imagination where alternative ways to think and live one’s life are fostered. For example, we have been progressively moving toward a more peaceful and ‘civilized’ (in the mannered since of the term) soceity2, inspired by the examples offered to us in movies and novels. Consider how Star Trek‘s universally acknowledged attraction is it’s vision of a future of inclusion and peace-on-Earth. But Star Trek is an American show and offers an American vision of an American future. If the CBC were living up to its mandate, it would support a Canadian future-based program, to give us some sense of what our future might be like. History is necessary, the present is obvious, but what kind of world are we moving toward? A valid question. We have too many future scenarios that offer dystopias, and we need more utopian ones to inspire us. This is not a job that funding ‘math and science’ will do for us. If the math-n-science is to take us to the Moon and Mars, ask where the idea of going off-world came in the first place.
On the April 7th 2008 episode of TVO’s The Agenda, Steve Paikin asked former Ontario Finance minister Greg Sorbara how high the arts rated in the government’s priorities:
Steve Paikin: Honestly, honestly, how high up the ladder are cultural institutions in the Minster of Finance’s play-book?’
Greg Sorbara: During my time they were really high up.
SP: They’re not education, and they’re not health care.
GB: You know what, they are what creates a healthy city and they are the way in which we educate ourselves. But the fact is, the future of this city and of this region is in arts and creativity and the production of those arts and the dissemination of that creativity. (Mp3 at 14:50)
Sobera’s answer was wonderful, but I think it could have also been answered this way: ‘what’s the point of having health care and education if you’re going to spend your life bored?’
Daniel Richler once described Mike Harris and Ralph Klein as examples of educational failure, and since hearing him say that 3 I’ve always kept that in mind. The people who Marni Soupcoff is pandering to are educational failures. I don’t care what kind of credentials an MBA or the like amounts to if your indifference to the arts has become openly hostile, and if you’re prone to use words like ‘loser’ when thinking of them. If that’s the case, your education has been no such thing. If you managed to go to university, you paid for your job training and partially subsidized your voluntary lobotomization. An educated person can be indifferent to the arts, but they should at least recognize their value.
As I’ve written, I’m not that much of a fan of the arts-councils. But I support public funding of culture. I just think the process could use reformation. If the Canadian Council was able to fund Soupcoff to go on a self-education sabbatical during which she expose herself to what the best of human beings have been able to achieve, perhaps she might be grateful. However, you can lead the horse to water, but you can’t make them drink. Or, as I’ve heard recently, ‘you can cure ignorance but you can’t cure stupid’.
I’d like to see politicians and journalists start pandering to this societies’ educated rather than to its stupid.
__________________
1. Chapterhouse Dune, 1985, p. 119
2. My position is that the democratic deficit is to blame for increasing violence: governance is disconnected from the citizens who want more social services and less military spending.
3. On the defunct CBC Friday night program out of Vancouver; name of which I don’t remember, circa 2002
I’d rather visit here:
(From, Via)
then here:
(From)
For one, I imagine the first would have a fantastic library.
Although the second is my desktop at work,
The first is my desktop at home.
Fuck Shanghai.
Used for my NSCAD Photoshop class.
Macintosh pre-formated.
Also on Flickr
I’ve come to realize that the CBC is obsolete, and all the fuss and bother about classical music ‘disappearing’ from CBC 2 is pointless. I listen to classical on the net all the time. I prefer it actually, since I can do without the CBC hosts. (That promo guy they have on now drives me nuts; not to mention all the other falsely enthusiastic banter).
For the past two days this is what I listened to at work:
http://www.icebergradio.com/ – classical section, baroque and renaissance.
I’ve been sympathetic to Russell Smith’s defense of CBC 2 in his Globe column over the past couple of years, even bringing up his arguments to a CBC employee I once knew.
Marc Weisblott, in reviewing this for his latest ‘Scrolling Eye’ post on the Eye website, writes
What [Russell Smith] said during a debate on CBC Radio One’s The Current on Wednesday was a bit more nuanced, though, advocating radio for “the sensitive kid bored by the beer-drinking frat culture” like he was. “There are hundreds of thousands of emo kids, and underprivileged kids, around the country who need an escape from the boredom of the bored mass culture around them.”
But, when those proverbial emo kids have never touched a terrestrial radio in their lives, the only place to turn is to the vitriolic greybeards.
…Exactly. I was one of those sensitive kids bored then & now by frat culture, and that’s why I listened to CBC 2. But I’m dismayed to find the same voices on it that were there when I was a child (Jurgen Gothe, I’m thinking of you, and wish you well in your upcoming retirement).
The internet is now there for curious and sensitive youth. With regard to classical, I tend to use Wikipedia to find a location to download it from when I want something for the iPod. The only way Smith’s argument stands up for me is to consider sensitive bored kids using dial-up on the Prairie. In that case, one should bring the protests to the likes of Bell, who’ve begun throttling bandwidth.
To remain relevant to the 21st Century, the CBC should become an ISP, and primarily focus on net streams. Radio should be so old hat to them they could afford to treat it as an afterthought. The situation at the present moment is the reverse. While they did revamp their website last fall, they are still focused on using Windows Media Player, still being stingy with MP3 downloads and podcasting, and still have a stream which is prone to buffering errors.
I get the message, and the message I have in return is
Fuck you too CBC 2.
(On Akimbo)
Well, there’s always next year’s surplus.
And consider this:
“Why weren’t these surplus monies given to the arts councils?”
perhaps to
“end the backroom deals” conducted by “the community review and peer assessment”
If you think the government is corrupted by back-room deals, what would it need to do to prove otherwise? Could such a test be passed by ‘community review and a peer assessment’ organizations? The whole point of ‘peer review’ is to build bias into the system in order to favour applicants (this is why it’s an important part of the judiciary – so that in ancient (and contemporary) times, the burden of proof for a criminal charge had to overcome the bias of a jury of peers. And why O.J. Simpson got away with murder: because a jury of his peers decided that burden of proof had not been met, a decision that had to stand because of the nature of the process).
Perhaps the gov thinks
‘enough is enough’ , ie. they perhaps think there are giving enough already.
But then again, there’s always next year. Perhaps Clive Robertson and Vera Frankel should begin a whitepaper to outline why the monies are needed, and what could be done with them. The older I get the more I become sensitive to arguments about responsibility. I ask the following rhetorically: Why should artists assume they are owed a living by society?
I recently heard something like this said by a right-wing pundit: ‘that people shouldn’t assume they are owed a living by society’. I don’t agree, but am not sure at this point what an appropriate counter-argument could be. The right-wingers would have everyone be responsible and manage their money carefully and aim to be self-sufficient. The Amish are probably an ideal here: they’re so excellent at managing money that they refuse all government assistance. They don’t need it. They’re also so self-sufficient they can afford to turn their backs on contemporary society.
I for one don’t appreciate the idea that because some people are fuck-ups and waste money on drugs or MFA degrees that means they should be condemned to poverty and social exclusion. I hate the idea of punishment in all its forms, and this attitude of letting fuck-ups suffer as homeless or whatever I don’t want to support.
That being said, it is a red flag for artists to demand more money. “Why are they not self-sufficient?” This is certainly a valid question concerning how many artists have turned they’re backs to soceity. If you want to be like the Amish, then figure out how to get by without government funds.
We’ve had year after year of being told artists are important for society, but where is the evidence for that? I see grants being used for projects that are more attuned to ‘personal development’ than that of society. This then raises the question of fairness and responsibility: why should artists get grant money to pay the rent while x & y have to work shitty/boring/whatever jobs?
Whenever I talk with artists about applying for grants, they’re always stressed about how to do their write-ups for whatever project which is just a front for them to get three months of rent and grocery money.
Let’s just be honest and ask that the Provincial Government to create a ‘creative subsidy’ so that individuals who are creative can afford regular ‘sabbaticals’. We might as well lobby Richard Florida (since everyone in a Moores suit cares what he thinks) to include a chapter in his next book (to be on indie music) on the need to have time off – weeks, months, or years, during which one is free to stay up all night, or lay around stoned for 48 hours, or spend afternoons at the library. In some of the later texts of Richard Rorty, he wrote about academics’ need to write up their own grants in order to get time off to unwind, recharge, and read. The sabbatical is cherished part of a creative life, and if you want to lobby for more funding, this is what you want to lobby for – a subsidy for the creative to take time off.
So, getting back to this poster: the Ontario Government helped out institutions who are now better positioned to support the creatives within the community. Boo-hoo. They want the backroom deals to favour them directly, not the only market for their type of art. Whan whan.
(From)
[From Goodreads 08w14:4]
Honestly, if a business can’t afford to pay all its employees a livable wage, than that business should be considered a fail. What are businesses for? (The wrong answer is to say the enrichment of the owners at the expense of the employees, because that’s like Marxism or something, and we’re supposed to be past all that).
I remember when I was working for a minimum wage in Halifax, feeling both totally exploited and humiliated into enforced poverty. Further, the business had like 6 people on the payroll when it only really needed three. That’s where I got the idea that mismanagement should never be an excuse to pay people peanuts. And why I have no sympathy for the business owners who claim raising the minimum wage would be too hard on them. They’re not paying themselves a minimum wage are they?
My greater concern for raising the minimum wage is this society’s capacity to maintain an unfair status quo. As is pointed out in this article, adjusted for inflation, today’s Ontario minimum wage is equivalent to what it was thirteen years ago. I’ve noticed in the past that whenever the minimum wage goes up, so do the prices at Tim Hortons, (which I consider to be an unofficial index of inflation). So the gains of the working poor are immediately offset to erase them. The article begins by pointing out that the Ontario minimum wage went up last week. This week Tim Hortons had signs at its counters saying the prices of some menu items would rise next week. Two weeks ago, the Go Train commuter system rose its ticket prices too.
So, in 2010, when the minimum wage rises to $10 and hour, count on 1.60 coffees (rather than the current 1.42 lg) at your national coffee chain, and corresponding ticket prices across our belle province and sun-shiny country. – Timothy
A dream of a clone of Axel Rose releasing Chinese Democracy, and starting to tour it, when the REAL Axel Rose attacks him on stage, gripping him in a headlock and harrangues the clone and the audience, saying ‘the record isn’t fucking ready yet’.
•Rainy Spring days call forth Nirvana from the playlists; angry Kurt Cobains yell through headphones to say, this was the season when my sadness and alienation and stomach condition became all too much. I’ll never have an email address and I won’t know what the fuck a google is. My songs will live forever on compact discs and cassette tapes, I don’t understand what you mean by iTunes and iPods.
By age 28 I looked out onto a world through eyes that had seen more life than the hurt voice on the playlists. By 33 I’d had beer with a fellow who followed Cobain’s example by rounding off his 29 years with a sleep, bookending my own experience with the extra two years on either end. What is life beyond a mindstream experiencing sense impressions? The gossamer thoughts between the ears, the holograms of remembered scenes beyind the eyes, and the occasional flood of music to soup it up. And for some, the movie ends quicker, the awareness peeling itself away from the inside of the skull and walking into a sunny parking lot to find the car.
Kurt Cobain passes out in with noise and a hurt head. This is beyond the temporary amnesia of a concussion, for he comes to having forgoten everything, including where he left his body. He now finds himself a baby, then a child, and now is suffering through school, aged about thirteen. Perhaps now he is a girl? This teenager’s bedroom is covered in posters of rockstars, and perhaps there is a Niravana poster there as well? This Kurt-tulku thinks Kurt Cobain rocked, complelty oblivious to the fact that he’s the same mind. But this is to speculate on something unpredicatable.
Perhaps he’s a pigeon, a dog, your gerbil, or a cat. Perhaps he became a salmon and was eaten in a resaturant.
But in my imagination, this Kurt kid is starting a high school band, discovering he has a fucking great talent for music.
Somewhere on a shelf in San Francisco sits CDs bought in Halifax on Barrington Street. They are old now, there plastic cases fogged with the scratches of use over the years. They were ripped to iTunes a long time ago, and have now become artifacts of the 20th Century, mirrored plastic reflecting no 1990s scenes; hidden in a case, on a shelf, with the Pacific Ocean a park away.
[From Goodreads 08w12:3]
Society has always benefitted from unpaid or underpaid labour; in the past it was blatant slavery, but when that became unfashionable (and unprofitable contrasted to the production offered by machines rather than muscles) the emphasis shifted to calling unpaid labour ‘volunteers’ and nowadays, the most obvious example of all, ‘interns’. But since it is so unpalatable to recognize this as a contemporary form of slavery, we euphemize it away, and consider that we don’t have a slavery class, although there are many people working for a legally determined absolute minimum wage. In other words, we had to be legally coercive to get people paid for basic services. So now it’s officially illegal to not pay people below a certain amount, but this amount is so low that it’s guaranteed to keep the recipient poor. That way, there’s a lot more money available (which could otherwise go to the volunteers, interns, and making the minimum a livable wage) to those in the upper levels of the management.
(graph via Richard Florida’s Blog)
This LOL in the webstats; someone searched for:
“fastwurms exhibit another piece of contemporary crap”
Camilla Belle modeling this decade’s stupid haircut (from). I hate bangs; personally I don’t feel this type of ‘do is flattering on anybody.
)
This is the haircut all the girls seem to be wearing right now.
All that snow has to go . . . where? | The Star
There’s the “equivalent of a 50 millimetre thunderstorm sitting on the ground right now in the form of snow,” says Toronto and Region Conservation Authority chief flood duty officer Ryan Ness.”But it has to be released and melted to get into rivers and streams and cause flooding.”
There hasn’t been this much snow on the ground, this late in the year, since 1968, says Phillips, who measured 28 centimetres of snow accumulation at Pearson airport yesterday.
Remember kids, if this asshole were killed in the line of duty he’d be called a hero.
http://www.flickr.com/photos/timothycomeau
Old men steal milkshakes
They drink it up
•Halifax’s lost last night. Do you know who I mean? Does it not seem as if Halifax’s Page has changed her name from Ellen to Halifax’s, since I haven’t ever seen it written without that qualifier? •Dear God:
Thanks for not making me North Korean
(via The FAIL Blog) •Skepticism toward global warming is reprehensible because of the attitude behind it. This skepticism is not directed toward the understandably biased oil companies, nor is it directed toward politicians and religious figures, but rather, it doubts whether or not we should care about our environment. It’s as if it’s a feminine weakness to want clean land, clean water, and clean air. It’s asking too much that we live without polluting or without stressing the biosphere.
To live cleanly in this regard, to live in such a way that is sustainable, is to be called to a more sophisticated life. But again, this asking too much, for it is easier to continue to unwrap the cellophane from the packet of cigarettes and drop it to the ground. Through this `fuck-it` action you prove yourself to be a rebel and cool, and not some airy-fairy girly-hippy environmentalist.
Forget global warming: Welcome to the new Ice Age
•If I die of cancer I don’t want it said that I lost ‘a courageous battle’. Life isn’t a war. Shit happens and we all die of something. Tonight on the news it was reported that someone had died of a brain tumor, and it has become the formulaic phrase, to say ‘he lost his courageous battle with cancer’. The rule for ESL students is: ‘courageous battle with cancer’.Again, life is not a war.With this is mind, consider annual growth rates in economics. Is is fair to say that the only thing in nature that grows as much as the economy is supposed to is cancer? Then, will we ever reach a point when it is said, ‘the nation lost its courageous battle with the economy’s growth rate today’.
`My Awesome Mix Tape # 6` from Boogie Nights
Philip Glass in a workspace
(From Richard Serra – To See is to Think)
Richard Serra’s Studio
(From Richard Serra – To See is to Think)
Philip Johnson in his study
(From Diary of an Eccentric Architect)
08w08:1 Review & Preview: The Canadian Art Reel Artists Film Festival 21-24 Feb 2008
[Cross posted from Goodreads 08w08:1]
The Canadian Art Reel Artists Film Festival, 21-24 February 2008
http://www.canadianart.ca/foundation/programs/reelartists/2008/01/24/
http://www.canadianart.ca/microsites/REELARTISTS//schedule/
screening at the Al Green Theatre, Miles Nadal JCC
750 Spadina Ave (at Bloor), Toronto
In his as-yet-untranslated book Formes de Vie (1999) Nicolas Bourriaud makes the argument that Duchamp treated the gallery as a film camera, a box in which the gallery ‘recorded’ the work and in so doing made it art. Throughout the 20th Century, the dominance of film as a medium has seeped into our consciousness to such an extant that it seems that all art today works in cinematic terms. The spectacle, the grandeur, the big budgets … the gallery has become a film set and must borrow from the film-production’s capacity to make the impossible real. Take for example the open pits of crude oil shown in There Will Be Blood – accurately reflecting the lack of environmental concern of a century ago, and yet filmed in 2006 under conditions that were probably heavily controlled and legislated behind the scenes. Also consider something like Doris Salcedo’s Shibboleth, where the Tate gallery undertook intentional damage to the foundations of the building and displayed it with an aloofness which makes it seem no big deal.
But the ugliness of its construction is as hidden as that which goes into the manufacture of our consumer goods by foreign wage slaves. We are only asked to marvel at the gleam, and not think of the grime.
I raise this points as an introduction to the blending of the cinematic and locational art forms, which is annually celebrated by the Canadian Art Foundation’s film series of artist documentaries. This year’s selection have a common theme of monumentalism, and the documentaries give us insight and access to the grime behind the gleam of art-stardom. Having watched previews of most of the films in this year’s series, (I was provided with all but four of the series’ screeners) what follows are reviews and reflections on them.
Jeff Wall | Jeff Wall – Retrospective 58:42 dir. Michael Blackwood (2007)
Peter Galassi (L) and Jeff Wall (R)
This film is an hour long eavesdrop as Wall walks through his 2007 retrospective exhibition at MOMA with its co-curator Peter Galassi. The format makes it a little boring at times – but it’s worth it if you’re at all interested in his work, and Wall gives wonderful insights into what inspired his classic pieces. It can be said that he’s a painter using photography to make his images, which are so composed and choreographed to assume the one-off aspect of a painting, albeit made in a medium which ensures a maximum reproducibly. Looking at Wall’s backlit images I was reminded they are precursors of the digital photographs we are all getting used to. One imagines that many HD-flat screen panels will be used to display future photography, as luminous and well resolved as a Jeff Wall. It makes his work seem almost prescient in that regard, and makes the technology behind it seem merely primitive rather than gimmicky or even as sophisticated as it appeared ten years ago.
Philip Johnson | Philip Johnson: Diary of an Eccentric Architect 55:00 dir. Barbara Wolf (1996)
Philip Johnson and Rem Koolhaas in the rain
This film is essentially a grand tour of Johnson’s sprawling estate in New Canaan, Connecticut, which was used as a literal field of experimentation by the architect. Johnson gives tours of the projects he undertook on his land over fifty years, meanwhile the film documents the construction of one such experiment, a building inspired by Frank Stella (who comes to see the work in progress), and which when completed is visited under umbrella by Rem Koolhaas. Once painted, it looked magnificent. I appreciated the inclusion of a scene where the construction workers quarrel with the managers, who are quibbling over ten-grand. ‘Ten thousand dollars is a drop in a hat. I see your place over there, you’re not working for $25/hr with guys making $12/hr, and think you’re going to live on that’. This sentence encapsulates what’s wrong with startchitecture to begin with, and for me is the key-phrase of the film.
As we go forward, this documentary may become one of those historical curiosities in which the rich playboy gives a tour of his Versailles and the interconnected social and environmental repercussions are totally ignored. Johnson (who I’ve most often seen in a suit at the office commenting in documentaries on the work of other architects) here is seen as a full resolution person, who had lived a blessed life of success and had reached an age when he couldn’t help but take it all for granted. His personal art gallery, brilliantly designed to exhibit many large paintings in a small space, consists of work that he needs explained to him by an assistant who first appears in the film sitting in the gallery in such a way that I mistook him for a Duane Hanson. Had The Simpson’s Mr Burns been written as an architect, he would have been modeled on Philip Johnson, and this Mr Burns would return the affections of his Smithers.
Bas Jan Ader | Here is always somewhere else 70:00 dir. Rene Daalder (2006)
Bas Jan Ader died the year I was born, and yet he has the best artist website I have ever seen, the result of some benefactor buying up his estate in recent years. As a part of this media revival, Rene Daalder was asked to make this film by Ader’s widow. (The trailer can be seen on the Ader website here). This film was a little slow getting started but got more interesting near the half-way mark. One of the nice things about this feature is how Daalder revisits some of the locations Ader used for his art-films, which have been so transformed in the intervening years as to have become unrecognizable.
Featuring interviews with people inspired by Ader’s work, including Tacita Dean, we learn much about his background, and the similar background of Daalder, who attempts to tell Bas Jan’s story by giving us insight into his own. Before he too immigrated to Los Angeles, Daalder began as a film-maker in Holland (one of his early films’s stared Rem Koolhaas, thirty years before getting his rainy day tour at Philip Johnson’s) before leaving after his first ‘most-expensive Dutch film ever’ failed at the domestic box-office. The result is a story of a small group of Dutch expatriates who ended up in L.A. trying and make their fame and fortune in Hollywood. With the exception of Koolhaas, they succeeded while remaining obscure. For example, one of the actors in another early Daalder film was Carel Struycken who I was familiar with as Mr. Homn, Lexanna Troi’s butler from the Star Trek episodes I watched as a teenager, and who also starred in the Adam’s Family movie as Lurch.
Wikipedia states that Ader’s work began to be revived in the early 1990s, and I first learned about him through the Phaidon Conceptual Art book, published in 1998. Richard Rorty described genius as the coincidence of one’s personal obsession meeting a public need. Throughout the 1980s, Bas Jan Ader was to a small group of Dutch men just that friend who disappeared at sea. As one says early on in the film, ‘I didn’t know I was friends with a myth’. This myth was constructed in the early 1990s, which is to say that the public need for Ader’s obsession only began then, this public being an art-world increasingly interested in the type of work Ader produced. As a video artist, his work can be seen throughout the movie (and on his website), and on the one hand it can seem both boring and absurd (what’s up with all the falling?) but on the other it can seem interesting and profound (the sea captain who had thought about it a lot). Ader’s work is a reminder to artists that there’s an potential audience for anything, but it may take twenty years after your death for the public’s interest to coincide with your obsessions.
Richard Serra | To See is to think 44:33 dir. Maria Anna Tappeiner (2006)
In Sheila Heti’s interview with Dave Hickey, he says of Richard Serra that ‘he’s totally not hip, can’t speak without drawing’. Throughout this film Serra is seen carrying a sketchbook, and only once to we see him actually using it. I’ve often thought that Serra’s work will survive for as long as there’s no iron shortage, but give us another couple of hundred years of material squandering, and then will see if this stuff is really worth something as art. Serra’s obsession with drawing allows one to see his sculpture really as a drawing in itself – only he is marking three dimensional space with the material of steel, rather than working with graphite or charcoal on two-dimensions. This image illustrates this for me: a simple line drawing, highlighting the space of the sky, consisting of one of Serra’s steel sheets seen edge-wise. (Of course, this interpretation is aided by the framing offered by the film camera).
Serra’s work makes me question wether things like Stonehenge were really about the stars and the Equinoxes. Perhaps they too liked to mark space with massive objects? I hope that Serra’s work, if it survives future material scarcity, will never be interpreted as astrological charting. That would make our culture look unimaginative. It’s worth persevering the memory of these rusted pieces of steel as attempts to mark the landscape in a creative way, although here I’m again reminded of what bothered me about Johnson’s estate. The land was fine as it was, and along came some egotistical human set about ‘improving’ it by dumping a hunks of rusted metal in it. I don’t think we’ve (as a culture) quite figured out the balance between imagination and destruction.
Anish Kapoor | Art in Progress: Anish Kapoor 27:24 dir. John Wyver (2007)
Anish Kapoor discussing the maquette for his installation of Svayambh
This documents the Kapoor retrospective which opened three months ago (Nov 2007) in Germany. Kapoor is one of the bigger names in sculpture right now, but he’s another reminder that artists these days (when they are successful) make big work that highlights vulgar industrial excess (a block of red wax weighing 45 tons and measuring 10 x 4.5 x 3.5 meters. WTF?) and it’s all ok because there’s enough money in the world, it’s affordable to these aristocrats, and besides, what else are we going to do with 45 tons of red wax? Cover cheese with it?
Kapoor emphasizes that his work is about color. The monumentalism of its material just seems like a paradoxical cheap trick: an expensively produced contrivance. Like, this is what it takes to awe people today – not fragility, not the delicate, but the heavy metal (Serra) in your face ear-bleeding loud message. The red wax is awe-some because it’s big.
In a world where the British-American Empire is guilty of war crimes while we face environmental catastrophe, this type of work just pokes my cynicism. When the process is supposed to be an important part of the work, and when that process is fictionalized (as it appears to be in this case) than what is the work but bullshit? Asking me to imagine the process just renders such installations as the set-design for an unmade film that it so often appears to be these days. With that in mind, I’d much rather walk through the set of the now-filming Star Trek movie than look at a giant block of red wax smeared against a gallery’s wall. Then again, if I saw this is person I might disagree with what I’ve just written.
Sam Wagstaff | Black White + Grey: A Portrait of Sam Wagstaff 72:15 dir. James Crump (2007)
As Philippe Garner (Director of Photography at the London Christie’s) says near the end of this documentary, ‘It horrifies me to think that there’s a generation growing up now in photography that doesn’t know who Sam is. And yet his legacy permeates the field, there’s absolutely no doubt about that.’
Featuring an extensive appearance by Patti Smith, roommate of Maplethorpe and part of the relationship wherein Maplethorpe took advantage of his wealthy sugar-daddy Sam Wagstaff, this is also a reminiscence of the New York 1970s art-scene and gay-demi-monde. What I most appreciated learning was that Wagstaff was responsible for a vast bulk of the collection of Getty Images.
There was some structural problems with this film’s editing, near the middle it became too crowded with interviews and from that point began to seem incongruous. Nevertheless a nice history of a man who helped change the direction of art through his curation and who amassed one of the most important photo collections in the world.
Phyllis Lambert | Citizen Lambert: Joan of Architecture 52.00 dir. Teri Wehn-Damisch (2006)
One scene of this I recognized as something I’d seen on TVO’s Masterworks last year – a scene where Phyllis Lambert-neé Brofman is walking through a Mies van der Rohe building and showing disgust at the curtains put up in its lobby. If I remember correctly, that scene was originally from a Mies-centered documentary. One of the fellow-architects interviewed for this portrait of Lambert (ridiculously modeled on Citizen Kane for god-knows-what reason) stated that architecture as we know it today would not have been without Lambert, primarily because when her family wanted to build their corporate phallic symbol in New York, she reviewed the initial design and convinced them to hire Mies instead, the result being the Seagram building. This resulted in a collaboration between Mies and Phillip Johnson, reputations established and architectural history writ. Considering how devastating architecture has become (the renegade architect Christopher Alexander having declared most of it ‘insane’) Lambert’s role is either a good thing or a bad thing considering which side your on.
Rodin | Rodin: The Sculptor’s View 53:00 dir. Jake Auerbach (2006)
Interviews with contemporary sculptors on the legacy of Rodin. This is really for sculpture geeks. Featuring Antony Gormley, Marc Quinn, Rachel Whiteread, Rebecca Warren, Barry Flanagan, Tony Cragg, Anthony Carro and Richard Deacon. (I just copied that from the blurb, incase those names spark any interest on your part. Honestly, this one I found the least interesting, since I’m not a sculpture geek. It’s just sculptors talking shop, with requisite cinematic close ups of Rodin’s work).
Tickets and times for the screenings available at the links listed above.
From Contingency, irony, and solidarity (1989; pages 37-38) by Richard Rorty:
Another way of making this point is to say that the social process of literalizing a metaphor is duplicated in the fantasy life of an individual. We call something ‘fantasy’ rather than ‘poetry’ or ‘philosophy’ when it revolves around metaphors which do not catch on with other people – that is, around ways of speaking or acting which the rest of us cannot find a use for. But Freud shows us how something which seems pointless or ridiculous or vile to society can become the crucial element in the individual’s sense of who she is, her own way of tracing home the blind impress all her behavings bear. Conversely, when some private obsession produces a metaphor which we can find a use for, we speak of genius rather than eccentricity or perversity. The difference between genius and fantasy is not the difference between impresses which lock on to something universal, some antecedent reality out there in the world or deep within the self, and those which do not. Rather, it is the difference between idiosyncrasies which just happen to catch on with other people – happen because of the contingencies of some historical situation, some particular need which a given community happens to have at a given time.
To sum up, poetic, artistic, philosophical, scientific, or political progress results from the accidental coincidence of a private obsession with a public need. [emph mine] Strong poetry, commonsense morality, revolutionary morality, normal science, revolutionary science, and the sort of fantasy which is intelligible to only one person, are all, from a Freudian point of view, different ways of dealing with blind impresses – or, more precisely, ways of dealing with different blind impresses: impresses which may be unique to an individual or common to the members of some historically conditioned community.
It’s a long life. You’d better learn how to live with it.
Th x 3
Re: Real men don’t attack straw men
[Posted December 19, 2007 by corbet]
From: Richard Stallman
To: “Edd Barrett”
Subject: Re: Real men don’t attack straw men
Date: Sat, 15 Dec 2007 16:37:06 -0500
Message-ID:
Cc: misc-AT-openbsd.org
Archive-link: Article, Thread
For personal reasons, I do not browse the web from my computer. (I
also have not net connection much of the time.) To look at page I
send mail to a demon which runs wget and mails the page back to me.
It is very efficient use of my time, but it is slow in real time.
(source)
‘Vancouver was a part of the United States where the people were so clever that they never paid taxes to Washington’.
-Robert Heinlein, Time Enough For Love (p.30)
// The same could also be said of Toronto
Circa 2003 depicting 2006
Circa 2004 depicting 2008
Circa 2007 depicting 2010 or 2011
Circa 2008 depicting 2011 or 2012
From the intro to Against Bosses, Against Oligarchies, by Derek Nystrom and Kent Puckett, Sept 1998:
The sort of intellectual Rorty prefers, then, is one who makes herself familiar with as many vocabularies and language games as possible by acquainting herself with as many novels and ethnographies as she can get her hands on. In doing so, this intellectual becomes an “ironist” about her own vocabulary, recognizing it as a contingent product of the time and place in which she was born. Furthermore, Rorty asserts, in his desired post-metaphysical culture, “novels and ethnographies which sensitize one to the pain of those who do not speak our language must do the job which demonstrations of a common human nature were supposed to do” (94). That is, the job of building human solidarity. Hence, we might be able to characterize Rorty’s pragmatist response to the “Nazi question” as consisting of two answers. First, one doesn’t refute Nazis, or any other world-view; one offers a redescription of the world which makes their description look untenable. Second, and Rorty is clear that this consists more of a hope than a guarantee, the properly ironist intellectual, with her wide range of acquaintance, will have read too many novels and ethnographies to fall for a vocabulary which imagines itself to have some privileged relationship to Truth, and which ignores the pain of others.
Yet Rorty also hesitates to claim too much for the political uses of either redescription or ironist self- consciousness. In fact, he notes that “redescription often humiliates” (90); that is, the act of re-casting the world in the terms of a new language game can often have cruel consequences, as the one redescribing the world overwhelms and makes irrelevant the descriptions and language games upon which others had based their lives (which, as Rorty explains, is what O’Brien does to Winston Smith in 1984, and what Humbert does to Lolita in Lolita). Indeed, Rorty cautions that while the desire to craft a new final vocabulary which redescribes the world apart from the language games one inherited is a central activity of ironist self-creation, it is also one which is largely irrelevant to public life. Thus, he suggests that the ironist intellectual enact a kind of cognitive public/private split: that one’s “radical and continuing doubts about [one’s] final vocabulary” (72), and the ensuing attempt to redescribe the world as an act of self-creation, be kept private, while one’s public life remains dedicated to the liberal hope of diminishing cruelty and expanding human solidarity. In short, Rorty’s model intellectual is what he calls a liberal ironist: one who continues to defend and support principles of liberal hope, despite their lack of metaphysical guarantees, by “distinguish[ing] between redescription for private and for public purposes” (91).
MacBook Air
“I heard through the grape vines that the Macbook Air designers upon the creation of the product called Steve and asked that he returned the time of their lives they wasted creating this laptop for his indulgence.”
A comment to the interview with Steve Jobs which appeared in yesterday’s NYT
Susan Sontag’s Workspace
From New York Times Magazine4 December 2005
Morgan vs. Ridley
A fuller consideration of the relationship between Matt Ridley’s Nature via Nurture and Richard Morgan’s Black Man: The selection from Nature via Nurture which inspired Richard Morgan to write Black Man (as described in the novel’s acknowledgment), from pages 34-35:
[Describing the domestication of foxes (selected for tameness and essentially turned into dogs) this is mapped onto the domestication of wolves, Matt Ridley continues]:’The surprise was that merely by selecting tameness, Belyaev had accidentally achieved all the same features that the original domesticator of the wolf had gotten – and that was probably some race of the wolf itself, which had bred into itself the ability not to run away too readily from ancient humans’ rubbish dumps when disturbed. The implication is that some promoter change had occurred which affected not one but many genes. Indeed, it is fairly obvious that in both cases the timing of the development had been altered so that the adult animals retained many of the features and habits of pups: the floppy ears, they short snout, the smaller skull, and the playful behaviour.
What seems to happen in these cases is that young animals do not yet show either fear or aggression, traits that develop last during the forward growth of the limbic system at the base of the brain. So the most likely way for evolution to produce a friendly or tame animal is to stop brain development prematurely. The effect is a smaller brain and especially a smaller ‘area 13’, a late-developing part of the limbic system that seems to have the job of disinhibiting adult emotional reactions such as fear and aggression. Intriguingly, such a taming process seems to have happened naturally in bonobos since their separation from the chimpanzee more than 2 million years ago. For its size the bonobo not only has a small head but also is less aggressive and retains several juvenile features into adulthood, including a white anal tail tuft, high-pitched calls, and unusual female genitals. Bonobos have unusually small area 13s. (Footnote here: K Semendefrei, E Armstrong, A Schleicher, K Zilles, & GW Hosen: `Limbic frontal cortex in hominoids: A comparative study of area 13` American Journal of Physical Anthropology 1998 106:129-55)
So do human beings. Surprisingly, the fossil record suggests that there has been a rather steep decline in the size of the human brain during the past 15,000 years, partly but not wholly reflecting a shrinking body that seems to have accompanied the arrival of dense and ‘civilized’ human settlements. This followed several million years of more or less steady increases in brain size. In the Mesolithic (around 50,000 years ago) the human brain averaged 1468cc (in females) and 1567cc (in males). Today the numbers have fallen to 1210 cc/1248cc and even allowing for some reduction in body weight, this seems like a step decline. Perhaps there has been some recent taming of the species. If so, how? Richard Wrangham believes that once human beings became sedentary, living in permanent settlements, they could no longer tolerate antisocial behavior and they began to banish, imprison, or execute especially difficult individuals. In the past in highland New Guinea, more than one in ten of all adult deaths were by the execution of ‘witches’ (mostly men). This might have meant killing the more aggressive and impulsive – and hence more developmentally mature and bigger-brained – people. ( Footnote here: RW Wrangham, D Pilbeam, B Hare: `Convergent paedomorphism in bonobos, domesticated animals, and humans: The role of selection for reduced aggresion` (unpublished); related: page: 87, Turkheimer’s quote: ‘Criminality, for instance, is quite highly heritable: adopted children end up with a criminal record which looks a lot more like that of their biological parents than like that of their foster parents. Why? Not because there are specific genes for criminality, but because their are specific personalities that get into trouble with the law and those personalities are heritable. As Eric Turkheimer … puts it, ‘Does anyone really suppose that unintelligent, unattractive, greedy, impulsive, emotionally unstable, or alcoholic people are no more likely than anyone else to become criminals or that any of these characteristics could be completely independent of genetic endowment?’ [sourced to E Turkheimer, `Heritability and biological explanation` Psychology Review 105:782-91, 1998]).
// Comment: What I find intriguing about this is the suggestion that aggression is mature behavior. Mature biologically anyway; I have for been thinking for a couple of years that rejecting violence was mature, but this then is mature as defined by civilization: that we willingly reject violence in this regard, inasmuch the same way that we also modify our behavior to fit into society (like the use of toilets, the behaviors around sex, the manners of meal time).
But here is also the suggestion that biological expressions are connected to the experience of fear; here, civilization provides less fear, and thus aggression appears less necessary.
Contrast this with Morgan’s version, from the end of Black Man:
‘Look, the fucking cudlips, they talk such a great fight about equality, democratic accountability, freedom of expression. But what does it come down to in the end? Ortiz. Norton. Roth. Plausible, power grubbing-men and women with a smile for the electors, the common fucking touch, and the same old agenda they’ve had since they wiped us out the first time around. And every cudlip fucker just lines right up for that shit.’
[…] Carl nodded and stared at the grey matt surface of the weapon in his hands.
‘But not us, right?’
‘Fucking right, not us. […] You know how you breed contemporary humans from a thirteen? You fucking domesticate them. Same thing they did to wolves to make them into dogs. Same thing they did with fox farming in Siberia back in the 1900s. You select for fucking tameness, Marsalis. For lack of aggression, and for compliance. And you know how to get that?’
[…]
‘Tell you how to get that,’ the dying thirteen rasped. ‘How you get a modern human. You get it by taking immature individuals, individuals showing the characteristics of fucking puppies. Area thirteen, man. It’s one of the last parts of the human brain to develop, the final stages of human maturity. The part they bred out 20,000 years ago because it was too dangerous to their fucking crop-growing plans. We aren’t the variant, Marsalis – we’re the last true humans. It’s the cudlips that are the fucking twists. […] Modern humans are fucking infantilized adolescent cut-offs. Is it any wonder they do what they’re told?’
‘Yeah, so did we,’ Carl said somberly. ‘Remember.’
‘They tried to contain us.’ Onbekend shifted over onto his side […] ‘But we’ll beat that. We will, we’re fucking wired to beat it. We’re their last hope, Marsalis. We’re what’s going to resuce them from the Ortizes and the Nortons and the Roths. We’re the only thing that scares those people, because we won’t comply, we won’t stay infantile and go out and play nice in their plastic fucking world.’
‘If you say so.’
‘Yeah, I do fucking say so. […] We’re the long walk back to hunter-gatherer egalitarianism, Marsalis. We’re going to show those fuckers what freedom really means. (p543-545)
// Comment: I’m currently under the impression that Morgan wrote this first and then constructed the novel to lead up to it. But that’s just an impression. Could be wrong.
Ortiz was a VIP, set to become head of the United Nations. The head of COLIN (the Colony Initiative) he had been shot in an attempted assassination and was in a hospital when confronted by Carl, who killed him in a scene which I keep thinking about as an example of power; that level of self-justification:
‘Tom,’ Ortiz says, ‘I have a secure nomination for Secretary General. There will be no dispute, it’s decided at all the levels that matter. I will hold the post by this time next year, if you let me live.’ The pressed palms raised, almost like prayer.’Don’t you understand, either of you, that this is what I have been trying to safeguard? You think this was about me personally? It was not, please believe me. I have spent the last six years of my life trying to bend the Colony Initiative closer to a rapprochement with the UN. To reach agreements on Martian law and co-operative governance. To leash corporate greed and harness it to a European social model. To break down the barriers between us and the Chinese instead of building walls and fences. I’ve done all that in the hope that we don’t have to take our insular nation state insanities to the first new world we’ve reached and build the same stupid hate-filled structure from the ground up all over again.’Ortiz’s face was flushed and animated, passion briefly imitating health while it filled him. Carl watched the COLIN director as if he were something behind glass in an insect vivarium. See the humans. Watch the patriarchal male justify his acts to his fellows and to himself.
‘One more year,’ said Ortiz urgently. ‘That’s all I need, and I can continue the work form the other side of the fence. I can restructure the idiot posturing in the general assembly, force reforms, make promises, all built on the work I’ve already done here with COLIN. That’s what was under threat from this stupid petty blackmail out of the past – not some quick cash that I could have filtered through a COLIN account for less than the cost of a single nanorack elevator. That’s not why I did this. I did it for the future, a hope for the future. Isn’t that worth the sacrifice? It was a handful of used-up, counterfeit lives, tired, superannuated men and women of violence hiding from their own pasts, set in the balance against the hope of a better future for all of us.’
[…]
‘You’re full of shit, Ortiz. […] You didn’t have a problem with using these men and women of violence when you were running Scorpion Response.’
‘No, that’s true, Tom. But it was a different time. You have to remember that. And back then, those men and women themselves would gladly have given their lives in the causes I’m talking about, because they also believed in a better future.’
Tom Norton: A better fucking future? And what exactly was your bright new future going to be, you motherfucker? Covert ops in other people’s countries. Corrupt corporate practice? A genetic concentration camp in Wyoming?
[…]
Ortiz: I …was… young. Foolish. I have no defense. But I believed what we were doing was right, at the time. You have to understand what it was like. In the West we were losing the edge, terrified of the gene research that was needed to be done, held back by moral panic and ignorance. China was doing work that our universities and technology institutes should have been pursuing. They still are. There is a future on Mars, Mr. Marsalis, but it’s not a human future the way Jacobsen and UNGLA understood it. You’ve been there, you know what it’s like. We will need the variants, we will have to become a variant of some sort if we plan to stay. The Chinese understand this, that’s why they haven’t stopped their programs. I only sought to equalize the pressure, so when they explosion, the realization finally came, it would not rupture society apart from the differential.
[…the conversation continues until Carl Marsalis lifts Ortiz from his wheel-chair to lay him out on the floor, preparing to snap his neck. He says to him …]
Carl Marsalis: I know you Ortiz. I’ve seen your kind making your speeches from every pulpit and podium on two planets, and you never fucking change. You lie to the cudlips and you lie to yourself so they’ll believe you better, and when the dying starts, you claim regret and you offer justification. But in the end, you do it all because you think you’re right, and you do not care. If you really suspected Jeff Norton, if you knew what kind of man he was, you could have squeezed him for the names, dealt with whoever it was – ‘ (pages 501-506)
…More talk, until Carl snaps his neck. The alarms attached to Ortiz’s body go off.
Soft, chiming sirens went off everywhere in the suite, the wail of distressed cudlip society. Man of substance down. Rally, gather, form a mob.The beast is out.
Two movies I have no plans to watch until they are well forgotten on DVD, if ever.
A) Juno
self-consciously cool people of any age drive me crazy
B) Cloverfield
viral marketing + monsters = a blatant attempt to get the attention of self-consciously cool people. See A
A movie I do plan on watching:
C) There will be blood
Early 20th Century + Daniel Day Lewis (Bill the Butcher in a suit) + the most important geo-political resources of our time (and perhaps some insight into how this came to be) I’m so there with a small popcorn and a pepsi. Besides, look at this poster.
Contrail Vanishing Point, Campbellton New Brunswick, Saturday 5 January 2008 12pm Ontaratime/1pm Maritime