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Javier E

Review: 'The Free World' by Louis Menand - The Atlantic - 0 views

www.theatlantic.com/...618713

free world intellectual artistic cultural history US european book review

shared by Javier E on 07 May 24 - No Cached
  • ouis Menand’s big new book on art, literature, music, and thought from 1945 to 1965 instills the conviction that the 20th century is well and truly over
  • For those of us who lived through any portion of this period and its immediate aftermath, the book is a rather amazing compendium of the scholarly research, revision, and demythologizing that have been accomplished in recent decades.
  • Interweaving post-1945 art history, literary history, and intellectual history, Menand provides a familiar outline; the picture he presents is one of cultural triumph backed by American wealth and aggressive foreign policy.
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  • guided by a fascination with the wayward paths to fame, he half-unwittingly sows doubt about the justice of the American rise to artistic leadership in the postwar era. In his erudite account, artistic success owes little to vision and purpose, more to self-promotion, but most to unanticipated adoption by bigger systems with other aims, principally oriented toward money, political advantage, or commercial churn
  • For the greatness and inevitability of artistic consecration, Menand substitutes the arbitrary confluences of forces at any given moment.
  • The curriculum runs chapter by chapter through George Kennan, George Orwell, Jean-Paul Sartre, Hannah Arendt, Jackson Pollock, Lionel Trilling, Allen Ginsberg, Claude Lévi-Strauss, Robert Rauschenberg and John Cage, Elvis and the Beatles, Isaiah Berlin, James Baldwin, Jack Kerouac, Andy Warhol, Susan Sontag, and Pauline Kael. Each biography opens a door to a school or trend of work
  • Menand’s is not a “great man” view of history, because no one seems particularly great. One gets a feeling for Sartre as a person, a limited knowledge of how Sartre made Being and Nothingness, and a vivid sense of how the book made Sartre a celebrity. Then one learns how a troupe of others came along and rode his success like a sled.
  • Menand zooms in and out between individual egomaniacs and the milieus that facilitated their ascent and profited from their publicity.
  • group biographies, in miniature, of the existentialists, the Beats, the action painters, the Black Mountain School, the British Invasion, the pop artists, and many coteries more—are enchanting singly but demoralizing as they pile up
  • All of these enterprises look like hives of social insects, not selfless quests for truth or beauty. Menand is a world-class entomologist: He can name every indistinguishable drone, knows who had an oversize mandible, who lost a leg, who carried the best crumbs.
  • From this vantage, the monuments really are just anthills.
  • Menand is truly one of the great explainers. He quotes approvingly a lesson taken by Lionel Trilling from his editor Elliot Cohen: “No idea was so difficult and complex but that it could be expressed in a way that would make it understood by anyone to whom it might conceivably be of interest.”
  • Menand’s account of each is an abbreviated tour de force. His explanations work at all levels: interpretation for scholars, review for general readers, introductions for neophytes. Where another writer would take 20 pages to tell us why someone or something mattered historically, Menand does it in two.
  • He is accurate, he is insightful, and he is not a dumber-downer
  • The underlying theory of the book rests on a picture of what makes for “cultural winners,” works and ideas that Menand defines as
  • Menand’s recountings are less concerned with the changing meanings of individual works than with their successive adoptions and co-optations, in defiance of depth and meaning. It is a process of “winning” often based on cults of personality, indifference to complex origins, and the fortune or misfortune of timing
  • goods or styles that maintain market share through “generational” taste shifts—that is, through all the “the king is dead; long live the king” moments that mark the phases of cultural history for people living through it.
  • Menand is notably excellent on how commercial, regulatory, and technological changes determined which kinds of artwork made it to the public. His analysis helps demystify trends in commercial forms like film and pop music, especially when they otherwise seemed to run against the grain of pure profit
  • Often Menand’s point seems to be that the culture’s reigning talkers and salespeople and debaters need to conjure figures to venerate and attack (in ceaseless alternation) for short-range purposes of attention and competition. Any given work—1984, say, or Bonnie and Clyde—isn’t much of anything until it becomes a counter in other people’s games.
  • The central question of this period in culture might be whether U.S. artists lived up to expectations
  • In 1945, Europe was in ruins. America was rich and productive and dictated the terms of the postwar economic and political order. Certainly the U.S. had the power to pretend to cultural glory, too. But was it a pretense, or did Americans really continue and exceed the prewar triumphs of European modernism?
  • Most histories of the arts after 1945 assume that the greatest American successes deserved their fame.
  • The thrust of many of Menand’s retellings is that “in the business of cultural exchange, misprision is often the key to transmission.” Fame comes through misreadings, fantasies, unintended resonances, charisma, and publicity.
  • Menand’s book bequeaths the sense that the last laugh may truly have been on the self-seriousness of a whole historical period, one that treated its most publicized and successful arts figures far too generously, giving them too much credit for depth and vision, while missing the cynical forces by which they’d been buoyed up and marketed
  • Where did rock ’n’ roll come from?” Menand wonders. He answers that it was “the by-product of a number of unrelated developments in the American music business” that redirected sales to teenagers, and also the result of new radio-station competition, the partial racial desegregation of the music charts, and the arrival of 200-disc jukeboxes
  • The idea of a “culture industry”
  • is used unironically by Menand to name the vastly scaled-up production and consumption of all artistic experience. “The culture industries, as they expanded, absorbed and commercialized independent and offbeat culture-makers, and the university, as it expanded, swallowed up the worlds of creative writing and dissident political opinion.”
  • With his eye on this process, we miss out on artists and thinkers who dug deep and stayed home, who produced as hermits or eccentrics or introverted students of their art
  • “Foreign film” in America in the ’50s and ’60s—when independent art cinemas emerged, showing imports such as work by Ingmar Bergman and the French New Wave—proves to have been energized by a successful federal-government antitrust action against the monopolistic Hollywood studios
  • I can imagine The Free World leaving my hypothetical college senior, denizen of the bleak attention economy of the 21st century, feeling liberated to discover that culture was no better—no more committed to a quest for what is true, noble, lasting, and beautiful—in the world of the Baby Boomers and beaming grandparents.
  • The book is so masterful, and exhibits such brilliant writing and exhaustive research, that I wonder whether Menand could truly have intended where his history of the postwar era landed me. I learned so much, and ended up caring so much les
Javier E

How to Live Without Irony - NYTimes.com - 1 views

opinionator.blogs.nytimes.com/...how-to-live-without-irony

irony culture generation youth lifestyle

shared by Javier E on 18 Nov 12 - No Cached
  • For many Americans born in the 1980s and 1990s — members of Generation Y, or Millennials — particularly middle-class Caucasians, irony is the primary mode with which daily life is dealt.
  • The ironic frame functions as a shield against criticism. The same goes for ironic living. Irony is the most self-defensive mode, as it allows a person to dodge responsibility for his or her choices, aesthetic and otherwise. To live ironically is to hide in public. It is flagrantly indirect, a form of subterfuge, which means etymologically to “secretly flee” (subter + fuge). Somehow, directness has become unbearable to us.
  • It stems in part from the belief that this generation has little to offer in terms of culture, that everything has already been done, or that serious commitment to any belief will eventually be subsumed by an opposing belief, rendering the first laughable at best and contemptible at worst. This kind of defensive living works as a pre-emptive surrender
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  • While we have gained some skill sets (multitasking, technological savvy), other skills have suffered: the art of conversation, the art of looking at people, the art of being seen, the art of being present. Our conduct is no longer governed by subtlety, finesse, grace and attention, all qualities more esteemed in earlier decades. Inwardness and narcissism now hold sway.
  • Nonironic models include very young children, elderly people, deeply religious people, people with severe mental or physical disabilities, people who have suffered, and those from economically or politically challenged places where seriousness is the governing state of mind. My friend Robert Pogue Harrison put it this way in a recent conversation: “Wherever the real imposes itself, it tends to dissipate the fogs of irony.”
  • As a function of fear and pre-emptive shame, ironic living bespeaks cultural numbness, resignation and defeat. If life has become merely a clutter of kitsch objects, an endless series of sarcastic jokes and pop references, a competition to see who can care the least (or, at minimum, a performance of such a competition), it seems we’ve made a collective misstep. Could this be the cause of our emptiness and existential malaise? Or a symptom?
  • This ironic ethos can lead to a vacuity and vapidity of the individual and collective psyche. Historically, vacuums eventually have been filled by something — more often than not, a hazardous something. Fundamentalists are never ironists; dictators are never ironists; people who move things in the political landscape, regardless of the sides they choose, are never ironists.
  • Ironic living is a first-world problem. For the relatively well educated and financially secure, irony functions as a kind of credit card you never have to pay back. In other words, the hipster can frivolously invest in sham social capital without ever paying back one sincere dime.
  • The most pure nonironic models in life, however, are to be found in nature: animals and plants are exempt from irony, which exists only where the human dwells.
  • Moving away from the ironic involves saying what you mean, meaning what you say and considering seriousness and forthrightness as expressive possibilities, despite the inherent risks. It means undertaking the cultivation of sincerity, humility and self-effacement, and demoting the frivolous and the kitschy on our collective scale of values.
  • The loosely defined New Sincerity movements in the arts that have sprouted since the 1980s positioned themselves as responses to postmodern cynicism, detachment and meta-referentiality. (New Sincerity has recently been associated with the writing of David Foster Wallace, the films of Wes Anderson and the music of Cat Power.) But these attempts failed to stick, as evidenced by the new age of Deep Irony.
Javier E

Japanese Mind: Understanding Contemporary Japanese Culture (Roger J. Davies and Osamu I... - 0 views

DIIGO_FILE_HOME/7ui9/27e0f1978b39d4041a3510efda2c0c8b

Japan history culture language book notes values

shared by Javier E on 18 Dec 18 - No Cached
  • Japan, the need for strong emotional unity has also resulted in an inability to criticize others openly. As a consequence, the development of ambiguity can be viewed as a defining characteristic of the Japanese style of communication: Japanese conversation does not take the form of dialectic development. The style of conversation is almost always fixed from beginning to end depending on the human relationship. It is one-way, like a lecture, or an inconclusive argument going along parallel lines or making a circle round and round, and in the end still ending up mostly at the beginning. This style
  • To express oneself distinctly carries the assumption that one’s partner knows nothing, so clear expression can be considered impolite.
  • own customs. Japanese people, too, have their own opinions, but they tend to wait their turn to speak out. If they completely disagree with a speaker, they will usually listen with an air of acceptance at first, then disagree in a rather vague and roundabout way. This is considered the polite way to do things in Japan. On
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  • In Japan, however, if you go against someone and create a bad atmosphere, your relations may break off completely. People tend to react emotionally, and most are afraid of being excluded from the group.
  • For the Japanese, silence indicates deep thinking or consideration, but too much silence often makes non-Japanese uncomfortable. Whereas the Japanese consider silence as rather good and people generally feel sympathetic toward it, non-Japanese sometimes feel that it is an indication of indifference or apathy.
  • The concept of amae greatly affects all aspects of Japanese life because it is related to other characteristics of the Japanese way of thinking, such as enryo (restraint), giri (social obligation), tsumi (sin), haji (shame) (Doi, 1973, pp. 33–48).
  • In other words, in the inner circle, amae is at work and there is no enryo, in the middle zone enryo is present, and in the outer circle, which is the world of strangers, there is neither amae nor enryo.
  • they feel giri (obligation) when others, toward whom they have enryo (restraint), show kindness to them. However, they do not express their appreciation as much to people they are close to and with whom they can amaeru
  • Japanese have difficulty saying no, in contrast to Westerners, who are able to do so more easily. The reason for this is that Japanese relationships, which are based on amae, are unstable (Doi; cited in Sahashi, 1980, p. 79); that is, people hesitate to refuse others for fear of breaking this bond. Doi insists that Westerners can refuse easily because amae is not at work in their relationships
  • Hirayama and Takashina (1994, pp. 22–23) state, for example, that the Japanese sense of beauty is based on a concept known as mono no aware, a kind of aesthetic value that comes from feelings, while in Western art, people try to construct something of beauty with a logic of what is beautiful. In contrast, Japanese art focuses not on what is logically considered beautiful, but on what people feel is beautiful. The Japanese aesthetic is very subjective, and there are no absolute criteria as to what this should be.
  • Aware is thus connected to feelings of regret for things losing their beauty, and paradoxically finding beauty in their opposite. Moreover, anything can ultimately be appreciated as beautiful in Japan, and what is beautiful depends upon people’s subjective point of view.
  • ma is an empty space full of meaning, which is fundamental to the Japanese arts and is present in many fields, including painting, architecture, music, and literature.
  • The Japanese have long treated silence as a kind of virtue similar to “truthfulness.” The words haragei and ishin denshin symbolize Japanese attitudes toward human interactions in this regard. The former means implicit mutual understanding; the latter suggests that people can communicate with each other through telepathy. In short, what is important and what is true in Japan will often exist in silence, not in verbal expression.
  • uchi-soto, or inner and outer duality. Lebra (1987, p. 345) provides an explanation: [The Japanese] believe that the truth lies only in the inner realm as symbolically located in the heart or belly. Components of the outer self, such as face, mouth, spoken words, are in contrast, associated with cognitive and moral falsity. Truthfulness, sincerity, straightforwardness, or reliability are allied to reticence. Thus a man of few words is trusted more than a man of many words.
  • Zen training is designed to teach that truth cannot be described verbally, but can exist only in silence. Traditional Japanese arts and the spirit of dō (the “way” or “path”) reflect this characteristic silence.
  • Otoko-masari means a woman who is superior to men physically, spiritually, and intellectually. However, despite this literal meaning of “a woman who exceeds men,” it often sounds negative in Japanese because it carries a connotation of lacking femininity, and such women are usually disliked.
  • Zen emphasizes that all human beings originally possess the Buddha-nature within themselves and need only the actual experience of it to achieve enlightenment (satori). This is a state that is seen as a liberation from man’s intellectual nature, from the burden of fixed ideas and feelings about reality: “Zen always aims at grasping the central fact of life, which can never be brought to the dissecting table of the intellect” (Suzuki, 1964,
  • For the Zen master, the best way to express one’s deepest experiences is by the use of paradoxes that transcend opposites (e.g., “Where there is nothing, there is all” or “To die the great death is to gain the great life”). These sayings illustrate two irreducible Zen dilemmas—the inexpressibility of truth in words, and that “opposites are relational and so fundamentally harmonious” (Watts, 1957, p. 175).
  • In all forms of activity, Zen emphasizes the importance of acting naturally, gracefully, and spontaneously in whatever task one is performing, an attitude that has greatly influenced all forms of cultural expression in Japan.
  • All practice takes place in an atmosphere of quietude, obedience, and respect, mirroring the absolute obedience and respect of the master-student relationship.
  • Common expressions in Japanese reflect these steps: kata ni hairu (follow the form), kata ni jukutatsu suru (perfect the form), and kata kara nukeru (go beyond the form).
  • moves must be repeated thousands of times and perfected before new techniques may be learned. The purpose of such discipline is “not only to learn new skills but also to build good character and a sense of harmony in the disciple” (Niki et al., 1993, p.
  • Japanese mothers, who “apparently do not make explicit demands on their children and do not enforce rules when children resist. Yet, diverse accounts suggest that Japanese children strongly internalize parental, group, and institutional values”
  • Sen no Rikyu transformed the tea ceremony in the sixteenth century with an aesthetic principle known as wabi, or the contrast of refinement, simplicity, and rusticity. He advocated the use of plain, everyday Japanese utensils rather than those imported from China in the tea ceremony. Proportions and sizes were carefully chosen to harmonize perfectly with the small tearooms. Not only the utensils but the styles of the buildings and tea gardens, the order and etiquette of the ceremony were designed to be in accord with an atmosphere in which the goal was to perfect one’s existence without self-indulgence. Thus, the ideas of simplicity, perfection, discipline, and harmony with nature, which are central to the Zen way of life, are also reflected in sadō.
  • Reischauer (1988, p. 200) concurs: The Japanese have always seemed to lean more toward intuition than reason, to subtlety and sensitivity in expression rather than to clarity of analysis, to pragmatism rather than to theory, and to organizational skills rather than to great intellectual concepts. They have never set much store by clarity of verbal analysis and originality of thought. They put great trust in nonverbal understanding and look on oral or written skills and on sharp and clever reasoning as essentially shallow and possibly misleading. They value in their literature not clear analysis, but artistic suggestiveness and emotional feeling. The French ideal of simplicity and absolute clarity in writing leaves them unsatisfied. They prefer complexity and indirection as coming closer to the truth.
  • Gambaru is a frequently used word in Japan, with the meaning of doing one’s best and hanging on.
  • a discussion on the subject, scholars, journalists, and graduate students from other countries who know the Japanese and Japanese culture well provided expressions that are close to gambaru in their mother tongues, such as a ushalten, beharren, and beharrung in German; tiens bon in French; a guante in Spanish; and chā yo in Chinese.
  • Both Chinese and Korean have the characters that make up gambaru, but they do not have expressions that possess the same nuances. This suggests that gambaru is an expression that is unique to Japan and expresses certain qualities of the Japanese character.
  • There are some expressions that are often used in America but seldom in Japan, such as “take it easy.” Americans say to a person who is busy working, “take it easy” or “don’t work too hard”; in contrast, the Japanese say “gambatte ” (or work hard) as a sign of encouragement. Americans, of course, also think that it necessary to be diligent, but as the proverb says, “all work and no play makes Jack a dull boy,” suggesting that working too hard is not good for you.
  • giri involves caring for others from whom one has received a debt of gratitude and a determination to realize their happiness, sometimes even by self-sacrificing. (Gillespie & Sugiura, 1996, p. 150)
  • Giri can perhaps best be understood as a constellation of related meanings, the most important of which are as follows: (1) moral principles or duty, (2) rules one has to obey in social relationships, and (3) behavior one is obliged to follow or that must be done against one’s will (Matsumura, 1988, p.
  • the cost of ochūgen and oseibo gifts is almost equivalent to the cost of justice in the USA, meaning that the cost of keeping harmony in human relations and that of mediating legal disputes is almost the same.
  • A Japanese dictionary (cited in Matsumoto, 1988, p. 20) describes haragei as follows: (1) the verbal or physical action one employs to influence others by the potency of rich experience and boldness, and (2) the act of dealing with people or situations through ritual formalities and accumulated experience. In other words, haragei is a way of exchanging feelings and thoughts in an implicit way among the Japanese.
  • Honne and tatemae are another related set of concepts that are linked to haragei. “These terms are often used as contrasting yet complementary parts of a whole, honne being related to the private, true self, and tatemae typifying the public persona and behavior. Honne then has to do with real intentions and sincere feelings, while tatemae conveys the face the world sees” (Matsumoto, 1988, p. 18). People in Japan are implicitly taught from a young age how to use honne and tatemae properly, and these concepts are important in maintaining face and not hurting the feelings of others; therefore, what a speaker says is not always what he or she really means. intentions and sincere feelings, while tatemae conveys the face the world sees” (Matsumoto, 1988, p. 18). People in Japan are implicitly taught from a young age how to use honne and tatemae properly,
  • those who cannot use these concepts effectively are not considered to be good communicators, because they may hurt others or make a conversation unpleasant by revealing honne at the wrong moment.
  • In high-context cultures most of the information lies either in the setting or people who are part of the interaction. Very little information is actually contained in a verbal message. In low-context cultures, however, the verbal message contains most of the information and very little is embedded in the context or the participants. (Samovar & Porter, 1995,
  • Personal space in Japanese human relationships can be symbolized by two words that describe both physical and psychological distance between individuals: hedataru and najimu. Hedataru means “to separate one thing from another, to set them apart,” and it is also used in human relationships with such nuances as “to estrange, alienate, come between, or cause a rupture between friends.” A relationship between two persons without hedatari means they are close. On the other hand, najimu means “to become attached to, become familiar with, or used to.” For instance, if one says that students “najimu ” their teacher, it means that they become attached to and have close feelings for the teacher.
  • Relationships are established through hedataru and then deepened by najimu, and in this process, three stages are considered important: maintaining hedatari (the noun form of the verb hedataru), moving through hedatari, and deepening friendship by najimu.
  • Underlying these movements are the Japanese values of restraint and self-control. In Japan, relationships are not built by insisting strongly on one’s own point of view but require time, a reserved attitude, and patience.
  • In the seventh century, Prince Shotoku, who was a nephew of Emperor Suiko, occupied the regency and discovered a way of permitting Buddhism and the emperor system to coexist, along with another belief system adopted from China, Confucianism. He stated that “Shinto is the trunk, Buddhism is the branches, and Confucianism is the leaves” (Sakaiya, 1991, p. 140). By following this approach, the Japanese were able to accept these new religions and philosophies, and the cultural values and advanced techniques that came with them, in such a way that they were able to reconcile their theoretical contradictions.
  • Iitoko-dori, then, refers specifically to this process of accepting convenient parts of different, and sometimes contradictory, religious value systems, and this practice has long been widespread in Japan. In modern times, Sakaiya (ibid., p. 144) notes that the number of Japanese people who do not admit to following some form of iitoko-dori is only about 0.5 percent of the population.
  • However, the process of iitoko-dori, which has given rise to relative rather than absolute ethical value systems, has also resulted in serious negative consequences. For example, many Japanese students will not oppose bullies and stop them from hurting weaker students.
  • In other words, in Japan, even if people know that something is wrong, it is sometimes difficult for them to defend their principles, because rather than being absolute, these principles are relative and are easily modified, depending on the situation and the demands of the larger group to which people belong.
  • The characteristics most often associated with the traditional Japanese arts are keishikika (formalization), kanzen shugi (the beauty of complete perfection), seishin shūyō (mental discipline), and tōitsu (integration and rapport with the skill). The steps that are followed are as follows: The establishment and formalization of the pattern or form (kata): every action becomes rule-bound (keishikika) The constant repetition of the pattern or form (hampuku) Mastering the pattern or form, as well as the classification of ability en route to mastery, resulting in licensing and grades (kyū and dan) Perfecting the pattern or form (kanzen shugi): the beauty of perfection Going beyond the pattern or form, becoming one with it (tōitsu)
  • It is also interesting to note the differences in this concept of “good-child identity” between Japan and America. As far as expectations for children’s mental development are concerned, Japanese mothers tend to place emphasis on manners, while with American mothers the stress is on linguistic self-expression.
  • In other words, the ideal of the “good child” in Japan is that he or she should not be self-assertive in terms of rules for living together in society, while American “good children” should have their own opinions and be able to stand by themselves.
  • In other words, Japanese mothers tend to refer to people’s feelings, or even to those of inanimate objects, to modify their child’s behavior, and this establishes the basis for making judgments for the child: Children who are taught that the reason for poor behavior has something to do with other people’s feelings tend to place their basis for judgments, or for their behavior, on the possibility of hurting others.
  • As a result, there is a constant emphasis on other people’s feelings in Japan, and parents try to teach their children from a very early age to be sensitive to this information. In Japan, people are expected to consider others first and foremost, and this is a prerequisite for proper behavior in society. It
  • A senior or an elder is called a sempai; one who is younger or subordinate is a kōhai. This sempai-kōhai dichotomy exists in virtually all Japanese corporate, educational, and governmental organizations.
  • The Japanese language has one of the most complicated honorific (keigo) systems in the world. There are basically three types of keigo: teineigo (polite speech), sonkeigo (honorific speech), and kenjōgo (humble speech). Teineigo is used in both
  • Although keigo is used to address superiors or those whom one deeply respects, it is also widely employed in talking to people one does not know well, or who are simply older than oneself. Moreover, it is common for company employees to use keigo in addressing their bosses, whether or not they feel any respect for the other on a personal level. As
  • Recently, it has been said that the younger generation cannot use keigo properly. In fact, children do not use it in addressing their parents at home, nor do students in addressing their teachers in modern Japan. Furthermore, humble forms seem to be disappearing in colloquial language and can be found today only in formal speeches, greetings, and letters.
  • Dictionaries usually suggest kenkyo as the equivalent of modesty. One Japanese dictionary states that kenkyo means sunao to hikaeme. Hikaeme gives the impression of being reserved, and sunao has a variety of meanings, including “gentle, mild, meek, obedient, submissive, docile, compliant, yielding,” and so on. Many of these adjectives in English connote a weak character, but in Japanese sunao is always seen as a compliment. Teachers often describe good students as sunaona iiko. This means that they are quiet, listen to what the teacher says, and ask no questions in class.
  • The Japanese ideal of the perfect human being is illustrated in these folktales, and this is generally a person who has a very strong will.
  • Dentsu Institute reported that only 8 percent of Japanese people surveyed said that they would maintain their own opinion even if it meant falling out with others, which was the lowest percentage in all Asian countries (“Dour and dark outlook,” 2001, p. 19).
Javier E

BBC - Culture - Can art change the world? - 0 views

www.bbc.com/...80517-can-art-change-the-world

art culture reform revolution activism

shared by Javier E on 22 May 18 - No Cached
  • propaganda, allegories, and calls to action are not themselves action, and art that represents change or resistance does not necessarily affect change or resistance.
  • how can it participate in networks of power that its content willfully rejects? Often, so-called ‘political art’ simply aestheticises protest or resistance. Sometimes, it has the effect of moral licensing – instilling in its viewer a false sense of having accomplished something.
  • if it is possible for artworks themselves to actually interfere in political and social structures, what does that disruption look like? Of course, sabotage isn’t simply about breaking things. Sabotage is breaking things so that something else, something different, can happen.
mattrenz16

Biden's Fossil Fuel Moves Clash With Pledges on Climate Change - The New York Times - 0 views

www.nytimes.com/...ssil-fules-climate-Willow.html

shared by mattrenz16 on 02 Jun 21 - No Cached
  • On Wednesday, the Biden administration defended in federal court the Willow project, a huge oil drilling operation proposed on Alaska’s North Slope that was approved by the Trump administration and is being fought by environmentalists. Weeks earlier, it backed former President Donald J. Trump’s decision to grant oil and gas leases on federal land in Wyoming. Also this month, it declined to act when it had an opportunity to stop crude oil from continuing to flow through the bitterly contested, 2,700-mile Dakota Access pipeline, which lacks a federal permit.
  • The three decisions suggest the jagged road that Mr. Biden is following as he tries to balance his climate agenda against practical and political pressures.
  • As important, Mr. Biden is trying to avoid alienating a handful of moderate Republicans and Democrats from oil, gas and coal states who will decide the fate of his legislative agenda in Congress. Among them is Lisa Murkowski, the Republican senator from Alaska for whom the Willow project is a top priority and who grilled Deb Haaland about it during Ms. Haaland’s confirmation hearing for interior secretary in February.Editors’ PicksSummertime … and the Sloganeering Is a Little AwkwardThe Murky World of Private Spies and the Damage They May Be DoingThey’ve Given $6 Million to the Arts. No One Knew Them, Until Now.AdvertisementContinue reading the main story
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  • The multibillion-dollar plan from ConocoPhillips to drill in part of the National Petroleum Reserve would produce more than 100,000 barrels of oil a day until 2050. It is being challenged by environmental groups who said the Trump administration failed to consider the impact that drilling would have on fragile wildlife and that burning the oil would have on global warming.
  • Senator Dan Sullivan, Republican of Alaska, said in an interview that he, Ms. Murkowski and Representative Don Young of Alaska had all met with Ms. Haaland “ad nauseam” about Alaska issues, including the Willow project. Mr. Sullivan said he had repeatedly made the case that Willow’s projected 2,000 jobs and $1.2 billion in revenues should be seen as part of the Biden administration’s focus on environmental equity, as it would directly benefit local and Alaska Native communities in the North Slope.
  • The decision on the Willow project was made as the Biden administration is trying to win Republican support for its infrastructure package and other policies, said Gerald Torres, a professor of law and environmental justice at Yale University. “He is going to need Murkowski’s vote for some things,” he said. “These are political calculations.”
  • Earlier this month, lawyers for the Biden administration also opposed in court shutting down the Dakota Access pipeline, which is carrying about 550,000 barrels of oil daily from North Dakota to Illinois. The Standing Rock Sioux tribe and other activists have fought it for more than five years, contending the pipeline threatens water supplies and sacred sites.
  • A few days later, the Biden administration defended 440 oil and gas leases issued by the Trump administration on federal land in Wyoming that is also the critical habitat of the sage grouse, mule deer and pronghorn. Environmentalists successfully sued the government to stop the leases, arguing that they violated a 2015 agreement that protected that land. But in federal appeals court, the Biden administration defended the decision to allow oil and gas drilling.
  • Environmental activists, who campaigned to elect Mr. Biden, said this week that they were “baffled” and “disappointed” by the decisions but avoided criticizing the president.
  • Still, some said they were running out of patience with the distance between Mr. Biden’s climate policies and his actions at a time when scientists say countries need to quickly and sharply cut fossil fuel emissions or risk irreversible damage to the planet.
  • Still, some said they were running out of patience with the distance between Mr. Biden’s climate policies and his actions at a time when scientists say countries need to quickly and sharply cut fossil fuel emissions or risk irreversible damage to the planet.
  • This month the world’s leading energy agency warned that governments around the globe must stop approving fossil fuel projects now if they want to keep the increase in average global temperatures below 2 degrees Celsius, compared with preindustrial levels. That’s the threshold beyond which scientists say the Earth will experience irreversible damage.
rerobinson03

Europe and the Age of Exploration | Essay | The Metropolitan Museum of Art | Heilbrunn ... - 0 views

www.metmuseum.org/...hd_expl.htm

shared by rerobinson03 on 02 Nov 20 - No Cached
  • The great period of discovery from the latter half of the fifteenth through the sixteenth century is generally referred to as the Age of Exploration.
  • The age is also recognized for the first English voyage around the world by Sir Francis Drake (ca. 1540–1596), who claimed the San Francisco Bay for Queen ElizabethEssayElizabethan England ; Vasco da Gama’s (ca. 1460–1524) voyage to IndiaEssayThe Art of the Mughals before 1600 , making the Portuguese the first Europeans to sail to that country and leading to the exploration of the west coast of Africa; Bartolomeu Dias’ (ca. 1450–1500) discovery of the Cape of Good Hope; and Ferdinand Magellan’s (1480–1521) determined voyage to find a route through the Americas to the east, which ultimately led to discovery of the passage known today as the Strait of Magellan.
  • In addition to the discovery and colonization of far off lands, these years were filled with major advances in cartography and navigational instruments, as well as in the study of anatomyEssayAnatomy in the Renaissance and optics.
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  • reflects the advancements in technology and interest in astronomy of the time, for instance Petrus Apianus’ Astronomicum Caesareum (25.17ArtworkMichael Ostendorfer Astronomicum Caesareum ). This extraordinary Renaissance book contains equatoria supplied with paper volvelles, or rotating dials, that can be used for calculating positions of the planets on any given date as seen from a given terrestrial location. The celestial globe with clockwork (17.190.636) is another magnificent example of an aid for predicting astronomical events, in this case the location of stars as seen from a given place on earth at a given time and date. The globe also illustrates the sun’s apparent movement through the constellations of the zodiac.
  • Portable devices were also made for determining the time in a specific latitude. During the late fifteenth and early sixteenth centuries, the combination of compass and sundial became an aid for travelers.
saberal

Opinion | How Trump Destroyed American Culture - The New York Times - 0 views

www.nytimes.com/...trump-arts-culture.html

us trump Culture

shared by saberal on 29 Oct 20 - No Cached
  • Because of the Trump administration’s barbaric family separation policy, 545 children may be lost to their parents forever. America has lost its status as a leading democracy.
  • Every moment spent thinking about Trump is a moment that could have been spent contemplating, creating or appreciating something else. Trump is a narcissistic philistine, and he bent American culture toward him.
  • The easiest place to quantify the cultural impoverishment of the Trump era is in book publishing. There have been so many books about Trump and the fallout from Trumpism that the Pulitzer Prize-winning Washington Post book critic Carlos Lozada has written a book about all the Trump books
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  • Before Trump, I’d never had the feeling of wanting to fast-forward through the era I was living in, of longing to be in the future, looking back at how it all turned out.
  • Of course, it can be thrilling when art and entertainment are politically relevant. But when politics are so alarming that the rest of the world seems to recede, it creates cultural claustrophobia. Since Election Day 2016, writers, artists and critics have wondered what many forms of cultural production — novels, fine art, theater, fashion — mean “in the age of Trump.” It’s a cliché — one I know I’ve used — about the reorientation of almost everything around the monstrous fact of the Trump presidency.
  • Living in Trump’s panic-inducing eternal present is bad for art, but it’s also bad for imagination more broadly, including the imagination needed to conceive a future in which Trumpism is unthinkable.
Javier E

Obsessed by the Present, Who's Got Time for Old Masters? - The New York Times - 0 views

www.nytimes.com/...-art-old-masters-auctions.html

art market collection masters trends history

shared by Javier E on 21 Jan 23 - No Cached
  • Experts say that younger collectors often regard art from the distant past as remote and irrelevant, and find the technical aspects of a sale off-putting. “Old masters are difficult to approach because of the problem of condition and attribution,” Turquin said. Today’s buyers tend to be interested in paintings by artists who are under 45 0c, not over 400.
  • The fixation with “the Now” (as Sotheby’s calls its most of-the-moment auction category) could be viewed as just a byproduct of fashionable 21st-century life. But for sociologists, changes in the art market are one of the many elements that reflect how the pace and preoccupations of our culture have altered over more than 100 years. In 1899, Thorstein Veblen’s landmark socio-economic study, “The Theory of the Leisure Class,” showed how free time and superfluity — what we now call luxury — conferred status, or “reputability,” on the wealthiest individuals in late 19th-century America.
jaxredd10

Renaissance Period: Timeline, Art & Facts - HISTORY - 1 views

www.history.com/...renaissance

shared by jaxredd10 on 25 Oct 19 - No Cached
  • The Renaissance was a fervent period of European cultural, artistic, political and economic “rebirth” following the Middle Ages.
  • Some of the greatest thinkers, authors, statesmen, scientists and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. T
  • Galieo (1564-1642): Italian astronomer, physicist and engineer whose pioneering work with telescopes enabled him to describes the moons of Jupiter and rings of Saturn. Placed under house arrest for his views of a heliocentric universe.
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  • Some historians, however, believe that such grim depictions of the Middle Ages were greatly exaggerated,
  • Among its many principles, humanism promoted the idea that man was the center of his own universe, and people should embrace human achievements in education, classical arts, literature and science.
  • In 1450, the invention of the Gutenberg printing press allowed for improved communication throughout Europe and for ideas to spread more quickly.
  • Great Italian writers, artists, politicians and others declared that they were participating in an intellectual and artistic revolution that would be much different from what they experienced during the Dark Ages.
  • Although other European countries experienced their Renaissance later than Italy, the impacts were still revolutionary.
  • Leonardo da Vinci (1452–1519): Italian painter, architect, inventor, and “Renaissance man” responsible for painting “The Mona Lisa” and “The Last Supper.
  • Also known as the “Dark Ages,” the era is often branded as a time of war, ignorance, famine and pandemics such as the Black Death.
  • By the early 17th century, the Renaissance movement had died out, giving way to the Age of Enlightenment.
  • Raphael (1483–1520): Italian painter who learned from da Vinci and Michelangelo. Best known for his paintings of the Madonna and “The School of Athens.”
  • Michelangelo (1483–1520): Italian sculptor, painter, and architect who carved “David” and painted The Sistine Chapel in Rome.
  • Art, architecture and science were closely linked during the Renaissance.
  • For instance, artists like da Vinci incorporated scientific principles, such as anatomy into their work, so they could recreate the human body with extraordinary precision.
  • Renaissance art was characterized by realism and naturalism. Artists strived to depict people and objects in a true-to-life way.
  • Some of the most famous artistic works that were produced during the Renaissance include:The Mona Lisa (Da Vinci)The Last Supper (Da Vinci)Statue of David (Michelangelo)The Birth of Venus (Botticelli)The Creation of Adam (Michelangelo)
  • Also, changing trade routes led to a period of economic decline and limited the amount of money that wealthy contributors could spend on the arts.
  • Donatello (1386–1466): Italian sculptor celebrated for lifelike sculptures like “David,” commissioned by the Medici family.
  • While many scholars view the Renaissance as a unique and exciting time in European history, others argue that the period wasn’t much different from the Middle Ages and that both eras overlapped more than traditional accounts suggest.
malonema1

Accountants in Oscar mistake won't work the show again - The Boston Globe - 0 views

www.bostonglobe.com/...story.html

us

shared by malonema1 on 02 Mar 17 - No Cached
  • Oscar snub: Accountants will never work awards show again
  • Cheryl Boone Isaacs said Brian Cullinan, the PwC representative responsible for handing over the errant envelope that led to ‘‘La La Land’’ mistakenly being announced as best picture rather than ‘‘Moonlight,’’ was distracted backstage. He tweeted (and later deleted) a photo of Emma Stone with her new Oscar minutes before giving presenters Warren Beatty and Faye Dunaway the wrong envelope for best picture. Advertisement
  • biggest blunder in the 89-year history of the Academy Awards
  • ...2 more annotations...
  • She praised presenters Beatty and Dunaway and host Jimmy Kimmel for gracefully taking charge of the situation. She also lauded ‘‘La La Land’’ producer Jordan Horowitz, whom she said ‘‘went from a nominee to a winner to a presenter in a matter of minutes.’’
  • In a statement, the academy extended ‘‘our deepest apologies’’ to producer Jan Chapman, whose photo was mistakenly used in the tribute instead of Chapman’s colleague and friend, the late Janet Patterson. Chapman had said she was ‘‘devastated’’ by the error.
Javier E

Is Stanford Too Close to Silicon Valley? : The New Yorker - 0 views

www.newyorker.com/...120430fa_fact_auletta

stanford education entrepreneur university interdisciplinary profit pragmatism

shared by Javier E on 26 Apr 12 - Cached
  • Stanford has established itself as the intellectual nexus of the information economy
  • If the Ivy League was the breeding ground for the élites of the American Century, Stanford is the farm system for Silicon Valley
  • Stanford’s public-relations arm proclaims that five thousand companies “trace their origins to Stanford ideas or to Stanford faculty and students.”
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  • At Stanford more than elsewhere, the university and business forge a borderless community in which making money is considered virtuous and where participants profess a sometimes inflated belief that their work is changing the world for the better
  • Faculty members commonly invest in start-ups launched by their students or colleagues. There are probably more faculty millionaires at Stanford than at any other university in the world.
  • In his twelve years as president, Stanford’s endowment has grown to nearly seventeen billion dollars. In each of the past seven years, Stanford has raised more money than any other American university.
  • But Stanford’s entrepreneurial culture has also turned it into a place where many faculty and students have a gold-rush mentality and where the distinction between faculty and student may blur as, together, they seek both invention and fortune.
  • A quarter of all undergraduates and more than fifty per cent of graduate students are engineering majors. At Harvard, the figures are four and ten per cent; at Yale, they’re five and eight per cent.
  • many students uncritically incorporate the excesses of Silicon Valley, and that there are not nearly enough students devoted to the liberal arts and to the idea of pure learning. “The entire Bay Area is enamored with these notions of innovation, creativity, entrepreneurship, mega-success,” he says. “It’s in the air we breathe out here. It’s an atmosphere that can be toxic to the mission of the university as a place of refuge, contemplation, and investigation for its own sake.”
  • Stanford is not the only university to adopt this approach to learning—M.I.T., among others, does, too. But Kelley’s effort is widely believed to be the most audacious. His classes stress collaboration across disciplines and revolve around projects to advance social progress. The school concentrates on four areas: the developing world; sustainability; health and wellness; and K-12 education.
  • Feeling dejected or unhappy in a place like Stanford causes one to feel abnormal and out-of-place, so we may tend to internalize and brood over this lack of happiness instead of productively addressing the situatio
  • his principal academic legacy may be the growth of what’s called “interdisciplinary education.” This is the philosophy now promoted at the various schools at Stanford—engineering, business, medicine, science, design—which encourages students from diverse majors to come together to solve real or abstract problems. The goal is to have them become what are called “T-shaped” students, who have depth in a particular field of study but also breadth across multiple disciplines. Stanford hopes that the students can also develop the social skills to collaborate with people outside their areas of expertise. “Ten years ago, ‘interdisciplinary’ was a code word for something soft,” Jeff Koseff says. “John changed that.”
  • Among the bolder initiatives to create T-students is the Institute of Design at Stanford, or the d.school, which was founded seven years ago and is housed in the mechanical-engineering department.
  • Distance learning threatens one day to disrupt higher education by reducing the cost of college and by offering the convenience of a stay-at-home, do-it-on-your-own-time education. “Part of our challenge is that right now we have more questions than we have answers,” Hennessy says, of online education. “We know this is going to be important and, in the long term, transformative to education. We don’t really understand how yet.”
  • financial aid has produced a campus of diverse students who are unburdened by student debt—and who thus don’t have to spend the first five years of their career earning as much money as they can.
  • “The kinds of project we put in front of our students don’t have right and wrong answers,” Greenberg says. “They have good, better, and really, really better.”
  • he was impressed by “the bias toward action” at the d.school. Newspapers have bureaucracy, committees, hierarchies, and few engineers, he said. At the Post, “diversity” was defined by ethnicity and race. At the d.school, diversity is defined by majors—by people who think different.
  • Byers has kept in touch with Systrom and Krieger and remembers them as “quiet and quite humble,” by which he means that they were outstanding human beings who could get others to follow them. They were, in short, T-students.
  • The United States has “two types of college education that are in conflict with each other,” he said. One is “the classic liberal-arts model—four years of relative tranquility in which students are free to roam through disciplines, great thoughts, and great works with endless options and not much of a rationale.” The second is more utilitarian: “A college degree is expected to lead to a job, or at least to admission to a graduate or professional school.” The best colleges divide the first two years into introductory courses and the last two into the study of a major, all the while trying to expose students to “a broad range of disciplines and modes of thought.” Students, he declared, are not broadly educated, not sufficiently challenged to “search to know.” Instead, universities ask them to serve “the public, to work directly on solutions in a multidisciplinary way.” The danger, he went on, is “that academic researchers will not only embrace particular solutions but will fight for them in the political arena.” A university should keep to “its most fundamental purpose,” which is “the disinterested pursuit of truth.
  • Stanford, along with its peers, is now justifying its existence mostly in terms of what it can do for humanity and improve the world,” he answered. “I am concerned that a research-intense university will become too result-oriented,” a development that risks politicizing the university. And it also risks draining more resources from liberal arts
  • students spent too much time networking and strategizing and becoming “slaves to the dictates of a hoped-for future,” and too little time being spontaneous. “Stanford students are superb consequentialists—that is, we tend to measure the goodness of actions by their eventual results,
  • We excel at making rational calculations of expected returns to labor and investment, which is probably why so many of us will take the exhortation to occupy Wall Street quite literally after graduation. So before making any decision, we ask one, very simple question: What will I get out of it?”
  • “At most great universities, humanities feel like stepchildren,”
  • The long-term value of an education is to be found not merely in the accumulation of knowledge or skills but in the capacity to forge fresh connections between them, to integrate different elements from one’s education and experience and bring them to bear on new challenges and problems. . . . Yet we were struck by how little attention most departments and programs have given to cultivating this essential capacity. We were also surprised, and somewhat chagrined, to discover how infrequently some of our students exercise it. For all their extraordinary energy and range, many of the students we encountered lead curiously compartmentalized lives, with little integration between the different spheres of their experience.
  • Instead of erecting buildings, Andreessen says, Stanford should invest even more of its resources in distance learning: “We’re on the cusp of an opportunity to deliver a state-of-the-art, Stanford-calibre education to every single kid around the world. And the idea that we were going to build a physical campus to reach a tiny fraction of those kids was, to me, tragically undershooting our potential.”
  • In late January, a popular d.school class, Entrepreneurial Design for Extreme Affordability, taught by James M. Patell, a business-school professor, consisted of thirty-seven graduate and three undergraduate students from thirteen departments, including engineering, political science, business, medicine, biology, and education. It was early in the quarter, and Patell offered the students a choice of initial projects. One was to create a monitoring system to help the police locate lost children. Another was to design a bicycle-storage system.
  • The “key question,” he says, is: “How can we increase efficiency without decreasing quality?”
  • online education might also disrupt everything that distinguishes Stanford. Could a student on a video prompter have coffee with a venture capitalist? Could one become a T-student through Web chat? Stanford has been aligned with Silicon Valley and its culture of disruption. Now Hennessy and Stanford have to seriously contemplate whether more efficiency is synonymous with a better education.
Javier E

Oaxaca, Mexico, Shows History Unvarnished - NYTimes.com - 0 views

www.nytimes.com/...shows-history-unvarnished.html

mexico indigenous history historiography US political correctness

shared by Javier E on 16 Jun 12 - Cached
  • there seems to be no temptation to glaze over the past’s harshness and imagine a pastoral harmony disrupted by colonization and only now struggling back. Leave that well-worn narrative for back home
  • here everything is plentiful that in the United States is rare: indigenous ruins, ancient languages, signs of direct lineage. And there is an edge to it all. Centers like Monte Albán are monuments to power and accumulated material wealth; they are also clearly evidence of a large-scale political organization, relics of perhaps the earliest state in the Americas.
  • We are not dealing here with imagined reconstructions, but with the past’s palpable presence. And most of these ancient cities and monuments were abandoned some six centuries before the Spaniards plundered the region. After 80 years of archaeological research, their meanings are still unclear
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  • In the United States, in institutions ranging from the National Museum of the American Indian in Washington to regional natural history museums, the real arbiters of indigenous history these days are representatives of contemporary tribes. They oversee the display of a museum’s tribal artifacts and reshape accounts of the past, in many cases relying mainly on frayed strands of traumatically disrupted oral traditions. And everything is meant to increase self-esteem with promotional banality.
  • how different all of this is from images of the indigenous past north of the border! There are few areas where evidence of ancient state-size power exists (mainly in the 2,000-year-old relics of societies that once thrived along the Ohio, Tennessee and Mississippi Rivers). There are few places where cultural continuity is even remotely clear, and where ancient languages are still widely spoken. Even before colonization, cultures disappeared, leaving behind neither oral traditions nor written records. And forced migrations and centuries of warfare so disrupted native traditions that the past now seems little more than an identity-affirming fantasy.
  • the head of Mexico’s national archaeological administration, explained in her dissertation that it was not easy to balance the needs of archaeologists with a sensitivity toward the local community, which also has its set of demands. “An experienced archaeologist,” she writes, “on hearing ‘the community will decide,’ immediately abandons hope of success.”
Javier E

New Statesman - The Joy of Secularism: 11 Essays for How We Live Now - 0 views

www.newstatesman.com/...world-secular-means-god

secularism postmodernism dogmatism truth love

shared by Javier E on 09 Aug 13 - No Cached
  • Art & Design Books Film Ideas Music & Performance TV & Radio Food & Drink Blog Return to: Home | Culture | Books The Joy of Secularism: 11 Essays for How We Live Now By George Levine Reviewed by Terry Eagleton - 22 June 2011 82 comments Print version Email a friend Listen RSS Misunderstanding what it means to be secular.
  • Societies become truly secular not when they dispense with religion but when they are no longer greatly agitated by it. It is when religious faith ceases to be a vital part of the public sphere
  • Christianity is certainly other-worldly, and so is any reasonably sensitive soul who has been reading the newspapers. The Christian gospel looks to a future transformation of the appalling mess we see around us into a community of justice and friendship, a change so deep-seated and indescribable as to make Lenin look like a Lib Dem.“This [world] is our home," Levine comments. If he really feels at home in this crucifying set-up, one might humbly suggest that he shouldn't. Christians and political radicals certainly don't.
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  • None of these writers points out that if Christianity is true, then it is all up with us. We would then have to face the deeply disagreeable truth that the only authentic life is one that springs from a self-dispossession so extreme that it is probably beyond our power.
  • Adam Phillips writes suggestively of human helplessness as opposed to the sense of protectedness that religious faith supposedly brings us, without noticing that the signifier of God for the New Testament is the tortured and executed corpse of a suspected political criminal.
  • he suspects that Christian faith is other-worldly in the sense of despising material things. Material reality, in his view, is what art celebrates but religion does not. This is to forget that Gerard Manley Hopkins was a Jesuit. It is also to misunderstand the doctrine of Creation
  • What exactly," he enquires, "does the invocation of some supernatural being add?" A Christian might reply that it adds the obligations to give up everything one has, including one's life, if necessary, for the sake of others. And this, to say the least, is highly inconvenient.
  • The Christian paradigm of love, by contrast, is the love of strangers and enemies, not of those we find agreeable. Civilised notions such as mutual sympathy, more's the pity, won't deliver us the world we need.
  • Secularisation is a lot harder than people tend to imagine. The history of modernity is, among other things, the history of substitutes for God. Art, culture, nation, Geist, humanity, society: all these, along with a clutch of other hopeful aspirants, have been tried from time to time. The most successful candidate currently on offer is sport, which, short of providing funeral rites for its spectators, fulfils almost every religious function in the book.
  • If Friedrich Nietzsche was the first sincere atheist, it is because he saw that the Almighty is exceedingly good at disguising Himself as something else, and that much so-called secularisation is accordingly bogus.
  • Postmodernism is perhaps best seen as Nietzsche shorn of the metaphysical baggage. Whereas modernism is still haunted by a God-shaped absence, postmodern culture is too young to remember a time when men and women were anguished by the fading spectres of truth, reality, nature, value, meaning, foundations and the like. For postmodern theory, there never was any truth or meaning in the first place
  • Postmodernism is properly secular, but it pays an immense price for this coming of age - if coming of age it is. It means shelving all the other big questions, too, as hopelessly passé. It also involves the grave error of imagining that all faith or passionate conviction is inci­piently dogmatic. It is not only religious belief to which postmodernism is allergic, but belief as such. Advanced capitalism sees no need for the stuff. It is both politically divisive and commercially unnecessary.
grayton downing

Nazi-looted Art Shown in Germany after Jewish Group Cries Foul | TIME.com - 0 views

world.time.com/...-victims-claim-nazi-looted-art

art germany culture

shared by grayton downing on 12 Nov 13 - No Cached
  • A lifetime ago, in the 1930s and ’40s, the Nazis looted thousands of artworks from Jewish collectors. Many of the original owners perished with their families in the Holocaust, while the survivors have mostly succumbed to old age
  • Since their discovery was first reported on Nov. 3 in the German newsmagazine Focus, a rush of ownership claims has poured in to German authorities, who have stored the works at an undisclosed location. But at a press conference on Nov. 5, Reinhold Nemetz, the chief prosecutor in the German town of Augsburg who is overseeing the case, said that showing the works online could violate the owners’ privacy while attracting dishonest claims of ownership. “It would be counterproductive for us,
  • “We must be careful not to squander the trust built over many generations,” he told the German news agency DPA. “Transparency is of the highest importance right now.”
Javier E

The Truth About Harvard - Magazine - The Atlantic - 0 views

www.theatlantic.com/...3726

harvard education culture academia

shared by Javier E on 04 Apr 11 - No Cached
  • the professor is not just a disinterested pedagogue. As a dispenser of grades he is a gatekeeper to worldly success. And in that capacity professors face upward pressure from students ("I can't afford a B if I want to get into law school"); horizontal pressure from their colleagues, to which even Mansfield gave way; downward pressure from the administration ("If you want to fail someone, you have to be prepared for a very long, painful battle with the higher echelons," one professor told the Crimson); and perhaps pressure from within, from the part of them that sympathizes with students' careerism.
  • Not every class was so easy. Those that were tended to be in history and English, classics and foreign languages, art and philosophy—in other words, in those departments that provide what used to be considered the meat of a liberal arts education. Humanities students generally did the least work, got the highest grades, and cruised academically
  • the libertarian philosopher Robert Nozick once hypothesized that most professors oppose capitalism because they consider themselves far smarter than boobish businessmen, and therefore resent the economic system that rewards practical intelligence over their own gifts. I'm inclined to think that such resentment—at least in money-drunk America—increasingly coexists with a deep inferiority complex regarding modern capitalism, and a need, however unconscious, to justify academic life in the face of the fantastic accumulation of wealth that takes place outside the ivory tower.
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  • some areas of academic life aren't vulnerable to this crisis of confidence in the importance of one's work. Scientists can rest secure in the knowledge that their labors will help shove along the modern project of advancing health—and wealth.
  • Then there is economics, the new queen of the sciences—a discipline perfectly tailored to the modern market-driven university, and not coincidentally the most popular concentration
  • The humanities have no such reservoirs of confidence. And attempts by humanities professors to ape the rigor of their scientific colleagues have led to a decades-long wade in the marshes of postmodern academic theory, where canons are scorned, books exist only as texts to be deconstructed, and willfully obscure writing is championed over accessible prose. All this has merely reinforced capitalism's insistence that the sciences are the only important academic pursuits, because only they provide tangible, quantifiable (and potentially profitable) results. Far from making the humanities scientific, postmodernism has made them irrelevant.
  • The retreat into irrelevance is visible all across the humanities curriculum. Philosophy departments have largely purged themselves of metaphysicians and moralists; history departments emphasize exhaustive primary research and micro-history. In the field of English there is little pretense that literature is valuable in itself and should be part of every educated person's life, rather than serving as grist for endless academic debates
  • Sure, historians believe in their primary sources, English scholars in their textual debates, philosophers in their logic games. But many of them seem to believe that they have nothing to offer students who don't plan to be historians, or literary theorists, or philosophers. They make no effort to apply their work to what should be the most pressing task of undergraduate education: to provide a general education, a liberal arts education, to future doctors and bankers and lawyers and diplomats.
  • In this environment who can blame professors if, when it comes time to grade their students, they sometimes take the path of least resistance—the path of the gentleman's B-plus?
  • the Core's mission statement asserts, with a touch of smugness, that "the Core differs from other programs of general education. It does not define intellectual breadth as the mastery of a set of Great Books, or the digestion of a specific quantum of information … rather, the Core seeks to introduce students to the major approaches to knowledge in areas that the faculty considers indispensable to undergraduate education."
  • These words, which appear in the course catalogue each year, are the closest that Harvard comes to articulating an undergraduate educational philosophy. They suggest that the difference in importance between, say, "Democracy, Development, and Equality in Mexico" and "Reason and Faith in the West" (both offerings in Historical Study) does not matter. As the introduction to the history courses puts it, both courses offer a "historical" approach to knowledge that is presumably more valuable than mere "facts" about the past. Comprehending history "as a form of inquiry and understanding" trumps learning about actual events. The catalogue contains similarly pat introductions to the other disciplines. In each case the emphasis is squarely on methodology, not material.
  • The few Core classes that are well taught are swamped each year, no matter how obscure the subject matter. The closest thing to a Harvard education—that is, to an intellectual corpus that most Harvard graduates have in common—is probably obtained in such oversubscribed courses as "The Warren Court and the Pursuit of Justice," "First Nights: Five Performance Premieres," and "Fairy Tales, Children's Literature, and the Construction of Childhood."
  • As in a great library ravaged by a hurricane, the essential elements of a liberal arts education lie scattered everywhere at Harvard, waiting to be picked up. But little guidance is given on how to proceed with that task.
  • Harvard never attempted to answer that question—perhaps the most important question facing any incoming freshman. I chose my classes as much by accident as by design. There were times when some of them mattered to me, and even moments when I was intoxicated. But achieving those moments required pulling myself away from Harvard's other demands, whether social, extracurricular, or pre-professional, which took far more discipline than I was usually able to exert.
  • It was hard work to get into Harvard, and then it was hard work competing for offices and honors and extracurriculars with thousands of brilliant and driven young people; hard work keeping our heads in the swirling social world; hard work fighting for law-school slots and investment-banking jobs as college wound to a close … yes, all of that was heavy sledding. But the academics—the academics were another story.
  • What makes our age different is the moment that happened over and over again at Harvard, when we said This is going to be hard and then realized No, this is easy. Maybe it came when we boiled down a three-page syllabus to a hundred pages of exam-time reading, or saw that a paper could be turned in late without the frazzled teaching fellow's docking us, or handed in C-quality work and got a gleaming B-plus. Whenever the moment came, we learned that it wasn't our sloth alone, or our constant pushing for higher grades, that made Harvard easy. No, Harvard was easy because almost no one was pushing back.
Javier E

21 French Museums Will Add to Artsy's Online Collection - NYTimes.com - 0 views

artsbeat.blogs.nytimes.com/...dd-to-artsys-online-collection

art database museum collection

shared by Javier E on 17 Dec 14 - No Cached
  • the Art Genome Project, a digital classification system that draws connections between artists and artworks and makes suggestions much in the way that Pandora and other music services do. The site now features more than 230,000 images of art and architecture from more than 2,500 commercial galleries and 350 museums and other institutions.
katyshannon

E.P.A. Broke Law With Social Media Push for Water Rule, Auditor Finds - The New York Times - 0 views

www.nytimes.com/...-water-rule-auditor-finds.html

water social media push law rule lobbying auditor new york times epa clean obama politics US

shared by katyshannon on 15 Dec 15 - No Cached
  • WASHINGTON — The Environmental Protection Agency engaged in “covert propaganda” and violated federal law when it blitzed social media to urge the public to back an Obama administration rule intended to better protect the nation’s streams and surface waters, congressional auditors have concluded. From Our Advertisers .story-link { position: relative; display: block; text-decoration: none; padding: 6px 0; min-height: 65px; min-width: 300px; } .story-link:hover { background-color: #eeeeec; } .story-kicker, .story-heading, .summary { margin: 0; padding: 0; } .thumb { position: absolute; left: 0; top: 6px; } .thumb-hover, .story-link:hover .thumb-main { display: none } .thumb-main, .story-link:hover .thumb-hover { display: block } .story-body { padding-left: 75px; font-family: 'Source Sans Pro', sans-serif; font-size: 13px; line-height: 16px; font-weight: 400; color: #000; } .story-body .story-kicker { font-family: 'nyt-franklin', arial, helvetica, sans-serif; text-transform: uppercase; font-size: 11px; line-height: 11px; font-weight: 400; color: #5caaf3; } .story-heading { font-size: 13px; line-height: 16px; font-weight: 700; padding: 5px 0 0; } Bill &amp; Melinda Gates Foundation Changing Charity Younger donors are finding new ways to give. <noscript class=&quot;MOAT-nytdfp348531439194?moatClientLevel1=31074278&amp;amp;moatClientLevel2=343740158&amp;amp;moatClientLevel3=58584518&amp;amp;moatClientLevel4=94015704638&amp;amp;moatClientSlicer1=28390358&amp;amp;moatClientSlicer2=30706478&amp;amp;zMoatPR=n
  • The ruling by the Government Accountability Office, which opened its investigation after a report on the agency’s practices in The New York Times, drew a bright line for federal agencies experimenting with social media about the perils of going too far to push a cause. Federal laws prohibit agencies from engaging in lobbying and propaganda.
  • An E.P.A. official on Tuesday disputed the finding. “We use social media tools just like all organizations to stay connected and inform people across the country about our activities,” Liz Purchia, an agency spokeswoman, said in a statement. “At no point did the E.P.A. encourage the public to contact Congress or any state legislature.”
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  • But the legal opinion emerged just as Republican leaders moved to block the so-called Waters of the United States clean-water rule through an amendment to the enormous spending bill expected to pass in Congress this week. While the G.A.O.’s findings are unlikely to lead to civil or criminal penalties, they do offer Republicans a cudgel for this week’s showdown.
  • The E.P.A. rolled out a social media campaign on Twitter, Facebook, YouTube, and even on more innovative tools such as Thunderclap, to counter opposition to its water rule, which effectively restricts how land near certain surface waters can be used. The agency said the rule would prevent pollution in drinking water sources. Farmers, business groups and Republicans have called the rule a flagrant case of government overreach.
  • The publicity campaign was part of a broader effort by the Obama administration to counter critics of its policies through social media tools, communicating directly with Americans and bypassing traditional news organizations.
  • At the White House, top aides to President Obama have formed the Office of Digital Strategy, which promotes his agenda on Twitter, Facebook, Medium and other social sites. Shailagh Murray, a senior adviser to the president, is charged in part with expanding Mr. Obama’s presence in that online world.
  • White House officials declined to say if they think Mr. Reynolds or other agency officials did anything wrong.
  • Federal agencies are allowed to promote their own policies, but are not allowed to engage in propaganda, defined as covert activity intended to influence the American public. They also are not allowed to use federal resources to conduct so-called grass-roots lobbying — urging the American public to contact Congress to take a certain kind of action on pending legislation.
  • As it promoted the Waters of the United States rule, also known as the Clean Water Rule, the E.P.A. violated both of those prohibitions, a 26-page legal opinion signed by Susan A. Poling, the general counsel to the G.A.O., concluded in an investigation requested by the Senate Committee on Environment and Public Works.
Javier E

'The Art of Self-Defense' Explores Male Rage - The Atlantic - 0 views

www.theatlantic.com/...594211

male masculine culture

shared by Javier E on 20 Jul 19 - No Cached
  • an update of Fight Club, 20 years on. Whereas that earlier film saw its disaffected Generation X protagonists get in touch with their violent instincts as a form of catharsis, The Art of Self-Defense posits that these days, men do not have to dig deeply to find their inner brutes.
  • the world The Art of Self-Defense is describing: one where pure testosterone bubbles to the surface of every conversation and confrontation. It’s ostensibly a fantasy. But it looks a lot like home.
krystalxu

Romanticism in France (article) | France | Khan Academy - 0 views

www.khanacademy.org/...romanticism-in-france

history culture Romanticism France

shared by krystalxu on 23 Oct 17 - No Cached
  • Artists explored diverse subjects and worked in varied styles so there is no single form of French Romanticism.
  • intimacy, spirituality, color, yearning for the infinite, expressed by all the means the arts possess
  • If David’s work reveals the Romantic impulse in French art early on, French Romanticism was more thoroughly developed later in the work of painters and sculptors such as Theodore Gericault, Eugène Delacroix and François Rude.
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  • “the Koran of the so-called Romantic artists.”
  • The first marker of a French Romantic painting may be the facture, meaning the way the paint is handled or laid on to the canvas.
  • The theme of man and nature found its way into Romantic art across Europe.
  • Raft of the Medusa (1819
  • Some artists, including Gericault and Delacroix, depicted nature directly in their images of animals. &nbsp;
  • Lion and Serpent (1835.)
  • Another interest of Romantic artists and writers in many parts of Europe was the concept that people, like animals, were not solely rational beings but were governed by instinct and emotion.
  • Whatever he thought of being called a Romantic artist, Delacroix brought his intense fervor to political subjects as well.
  • That intensity of emotion, so characteristic of French Romantic art, would be echoed if not amplified by the sculptor François Rude’s Departure of the Volunteers of 1792 (La Marseillaise) (1833-6).
  • French Romanticism remains difficult to define because it is so diverse. Baudelaire’s comments from the Salon of 1846 may still apply:
carolinehayter

'It's a moral decision': Dr Seuss books are being 'recalled' not cancelled, expert says... - 0 views

www.theguardian.com/...-product-recall-cancel-culture

US culture policy

shared by carolinehayter on 08 Mar 21 - No Cached
  • A leading expert on racism in children’s literature has said the decision by the Dr Seuss Foundation to withdraw six books should be viewed as a “product recall” and not, as many claim, an example of cancel culture.
  • A leading expert on racism in children’s literature has said the decision by the Dr Seuss Foundation to withdraw six books should be viewed as a “product recall” and not, as many claim, an example of cancel culture.
  • He told the Guardian the six titles by Theodor Geisel published between 1937 and 1976 that Dr Seuss Enterprises said it would cease printing contained stereotypes of a clearly racist nature.
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  • “Dr Seuss Enterprises has made a moral decision of choosing not to profit from work with racist caricature in it and they have taken responsibility for the art they are putting into the world and I would support that,” Nel said.
  • “Dr Seuss Enterprises has made a moral decision of choosing not to profit from work with racist caricature in it and they have taken responsibility for the art they are putting into the world and I would support that,” Nel said.
  • The titles in question are And to Think That I Saw It on Mulberry Street, If I Ran the Zoo, McElligot’s Pool, On Beyond Zebra!, Scrambled Eggs Super! and The Cat’s Quizzer
  • Nel said the decision to no longer publish titles including caricatures of people of African, Asian and Arab descent showed just one way to address problematic material.
  • After this week’s announcement, amid uproar eagerly stoked by conservatives in the media and Congress, Dr Seuss books swiftly dominated sales charts. On Friday, the House minority leader, Kevin McCarthy, went so far as to share a video of himself reading from Green Eggs and Ham, a perennial strong seller.
  • Geisel’s stepdaughter, Lark Grey Dimond-Cates, told the New York Post there “wasn’t a racist bone in that man’s body”, but also said suspending publication of the six titles was “a wise decision”.
  • Geisel’s stepdaughter, Lark Grey Dimond-Cates, told the New York Post there “wasn’t a racist bone in that man’s body”, but also said suspending publication of the six titles was “a wise decision”
  • After this week’s announcement, amid uproar eagerly stoked by conservatives in the media and Congress, Dr Seuss books swiftly dominated sales charts. On Friday, the House minority leader, Kevin McCarthy, went so far as to share a video of himself reading from Green Eggs and Ham, a perennial strong seller.
  • Nel said the decision to no longer publish titles including caricatures of people of African, Asian and Arab descent showed just one way to address problematic material.
  • Later in life, he made efforts to tone down racial stereotypes in some of his books. Such revisions “were imperfect but will-intentioned efforts that softened but did not erase the stereotyping”, Nel said, noting that Geisel also made a joke of the changes, “which served only to trivialise the importance of the alterations”.
  • Geisel died in 1991. Later in life, he made efforts to tone down racial stereotypes in some of his books. Such revisions “were imperfect but will-intentioned efforts that softened but did not erase the stereotyping”, Nel said, noting that Geisel also made a joke of the changes, “which served only to trivialise the importance of the alterations”.
  • “Children understand more than they can articulate,” he said. “If you inflict racist images on them before they can express what they’re articulating they may endure a harm they cannot process.”In the case of Dr Seuss, Nel said, that “is itself a reason to withdraw the books or to bring in books or art that counter stereotypes with truth.”
  • “Children understand more than they can articulate,” he said. “If you inflict racist images on them before they can express what they’re articulating they may endure a harm they cannot process.”
  • In the case of Dr Seuss, Nel said, that “is itself a reason to withdraw the books or to bring in books or art that counter stereotypes with truth.”
  • only 22% of children’s books published in 2018 featured non-white characters.
  • only 22% of children’s books published in 2018 featured non-white characters.
  • Merely putting the question of what a child can or cannot see to parents would not be an adequate solution, Nel said.“Parents may not have training in anti-racist education,” he said, “or may not know how to have these conversations. So in the case of Dr Seuss it’s a way of addressing the gap in what one might hope a responsible adult would know and what we can expect a responsible adult to know.
  • “Parents may not have training in anti-racist education,” he said, “or may not know how to have these conversations. So in the case of Dr Seuss it’s a way of addressing the gap in what one might hope a responsible adult would know and what we can expect a responsible adult to know
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