Chris Navin
Agnostic-Looking for Liberals In The Postmodern Wilderness. Postmodern Conservatism?
Man Is A Political Animal
Posts On Foreign Policy
Repost-Some People In New York Are At The Center Of The Universe-A Few Links
January 12, 2020 / chr1	/ Leave a comment
***A lot of re-posts lately. Busy at work. If you have any questions, drop me a line.
From a reader: The New York Observer-The Trial Of Ryder Ripps: 'An Embattled Artist On Haters, Angry Muses, And Threats:'
One brander calling out another in the marketplace in a bid for fame, celebrity and self-promotion?:
'The show is called "Ho," as all the paintings are based on Instagram posts from the feed of model Adrienne Ho—the self-curated building blocks of her own personal brand—and to see the huge diptychs in person, the torrent of bilious blog posts hellbent on exposing Mr. Ripps as a misogynist, seems a little overblown. They're just oil works on square canvas, but I was a tad surprised at how skillful they were, given that my exposure to Mr. Ripps had thus far been through the ad campaigns of his design firm, his internet hijinks, and his collaborations with fashion designers like Nicola Formichetti and rap producers like Mike Will Made It. Not through painting.'
Where post-pop, (some) art history and theory, meets coding and game design, meets post-Koons art marketeering?
Some people from Jeff Koons' workshop were involved with the oil paintings.
Robert Hughes really didn't like the lack of acquired skill and mastery of materials many moderns lack.
There have been a lot of virulent reactions to 'modern' life and technology ranging from utopian futurism to nihilism to consumerism and a kind of dejected anti-consumerism and spiritual malaise.
Camille Paglia wants to tilt the culture more towards art education, but manages to resist the more virulent strains of secular ideology filling the modern hole, pushing back against the radicalism of feminist ideology when it encroaches upon aesthetics:
Hughes wrote a review for Time entitled the "Princeling Of Kitsch."
As previously posted, The Critic Laughs, by Hamilton:
The modern doubt, ironic detachment and profound unease:
Beauty is no quality in things themselves, it exists merely in the mind which contemplates them; and each mind perceives a different beauty.
Repost: Some Monday Modernist Links-Empire State Plaza Again
December 1, 2019 / chr1	/ Leave a comment
Full post here (from Althouse, with photos).
It looks like the 'International Power Style' of the 50's and 60's landed its mothership in downtown Albany. I appreciate Robert Hughes' near hyperbole in describing the Empire State Plaza:
What if there was a Wisconsin motor court/supper club with global ambitions? What if you fused a local motel with the U.N. internationalist style, you ask?
Click here to experience 'The Gobbler.'
After taking the photo tour, I remain convinced that 'The Gobbler' exists in its own realm of awesome badness. Such a shag-covered, abandoned love-child of the late 60′s and early 70′s is challenging just what I thought I knew about American culture.
Donald Pittenger, at Art Contrarian, and formerly of 2 Blowhards, has been looking at modernism. From the banner of his blog:
'The point-of-view is that modernism in art is an idea that has, after a century or more, been thoroughly tested and found wanting. Not to say that it should be abolished — just put in its proper, diminished place'
They designed a city in the heart of Brazil that really doesn't work for people: Brasilia: A Planned City
Check out the 'Socialist Cybernetics' of Salvador Allende.
In working towards a theme, check out Buzludzha, the abandoned communist monument in Bulgaria's Balkan mountains, which still draws up to 50,000 Bulgarian Socialists for a yearly pilgrimage. Human Planet's Timothy Allen visited the structure in the snow and took some haunting photos. You will think you've stepped into a Bond film and one of Blofeld's modernist lairs, but with somewhat Eastern Orthodox tile frescos of Lenin and Marx gazing out at you, abandoned to time, the elements and to nature.
Repost: One More Revolution-Venezuela, New Yorkers, And Visions Of Ideal Societies
November 20, 2019 / chr1	/ Leave a comment
Alas, the New Yorker had been having to come to terms with the mess in Venezuela…:
Once the richest country in South America, Venezuela is now plagued by hunger and violent crime. What happened? https://t.co/kbUktjJbWk pic.twitter.com/kWwuVfnAqc
— The New Yorker (@NewYorker) November 26, 2017
Sometimes I find myself wondering how the mission of supporting the arts and experimental literature got mixed-up with such political ideas over at the New Yorker (well-educated readers, aesthetes, writers, cultural critics etc) who seem to be viewing the failures of Venezuela from a very foggy Overton window indeed.
Part of this is due to the institutionalization and white-washing of the activities of many radicals and would-be radicals, revolutionaries and would-be revolutionaries from the late 60's onwards here in the U.S. Organizations like the Weathermen talked something of a game: Appealing to the injustice of the draft while protesting the Vietnam War and aiming for 'pure' majoritarian democracy, but such appeals couldn't mask the necessity of making criminal political bedfellows, spouting violent rhetoric and even devolving into terrorism and murder in the name of their ideas.
Okay, maybe it's pretty simple…:
Here's one senior New Yorker editor, Hendrik Hertzberg, discussing years ago how to abolish the Electoral College, arrive at a National Vote (to better serve the People, of course) and enact 'democratic change.'
This strikes me as in-line with much Left and Left-liberal majoritarian populism. activism and softly (ultimately hard) radical change.
More on Venezuela:
Thanks to the New Criterion, they've recycled an Anthony Daniels (Theodore Dalrymple) review of two books on the subject:
'Man is born rich, but almost everywhere is poor:'
No idiocy like educated idiocy by Anthony Daniels https://t.co/Oc5vEeZSGw via @newcriterion
— Chris Navin (@chris_navin) November 26, 2017
A response to one of my comments found on Alexandria, where I used to blog, on Hugo Chavez:
'Chavez is actually not an orthodox Marxist in the sense that Marx would have recognized (which was why I linked to the sort of Marxist 'prophecy' of people like Chavez from the 'Eighteenth Brumaire'). Chavez is more along the lines of what traditional Marxists referred to as 'Bonapartist' (borrowing from the figure of Napoleon Bonaparte). The whole theory on which Chavez based his political life was that the working class (or what passed for it, in a country like Venezuela) *could not* make a revolution on its own, and that someone else (the military and the Socialist Party, led by him) needed to make the revolution for them. For the very reasons that Bourdieu and Marx hint at in the quotations above. A 'revolution from above', in other words.
Where Chavez (and a number of other left-wing Latin American strongmen over the last century) departed radically from orthodox Marxist theory, is that Marx saw Bonapartism as essentially a conservative (thought not a bourgeois) strategy, by which military cliques delude the poor into supporting them, by promising to protect them against the bourgeoisie, and using paternalistic rhetoric. Chavez is, of course, a man of the left, as was his political inspiration, the mid-20th century Peruvian leader General Velasco. Marx seems to have been wrong about 'revolutions from above': sometimes they can be genuinely left-wing, and in a lot of cases (including Venezuela) they're the only serious left-wing option on offer.'
Christopher Hitchens at Slate-Hugo Boss:
'The boss loves to talk and has clocked up speeches of Castro-like length. Bolívar is the theme of which he never tires. His early uniformed movement of mutineers—which failed to bring off a military coup in 1992—was named for Bolívar.'
If we're going to have a chattering class of middlebrow know-nothings, can we at least ask they know the right somethings?:
It's a long way out of socialist and revolutionary solidarity, which continually occupies the South American mind. One more revolution: Adam Kirsch takes a look at Mario Vargas Llosa. The Dream Of The Peruvian.
From The Outside Peering In-A Few NYC Words, Images & Hearsay
Beauty, ugliness, youth, strength, and decay: Via Mick Hartley Bruce Davidson at Magnum's 'Subway (NYC subway during the 1980's).
Was a subway ride in the early 1980's really that wild, violent, dirty and dangerous? Why am I taking such pleasure in the beauty of the images?
NYC holds a place in many, many people's minds (mine included); however small a place and however much based upon words, images, and hearsay.
A chimney, breathing a little smoke.
The sun, I can't see
making a bit of pink
I can't quite see in the blue.
The pink of five tulips
at five p.m. on the day before March first.
The green of the tulip stems and leaves
like something I can't remember,
finding a jack-in-the-pulpit
a long time ago and far away.
Why it was December then
and the sun was on the sea
by the temples we'd gone to see.
One green wave moved in the violet sea
like the UN Building on big evenings,
green and wet
while the sky turns violet.
A few almond trees
had a few flowers, like a few snowflakes
out of the blue looking pink in the light.
A gray hush
in which the boxy trucks roll up Second Avenue
into the sky. They're just
going over the hill.
The green leaves of the tulips on my desk
like grass light on flesh,
and a green-copper steeple
and streaks of cloud beginning to glow.
I can't get over
how it all works in together
like a woman who just came to her window
and stands there filling it
jogging her baby in her arms.
She's so far off. Is it the light
that makes the baby pink?
I can see the little fists
and the rocking-horse motion of her breasts.
It's getting grayer and gold and chilly.
Two dog-size lions face each other
at the corners of a roof.
It's the yellow dust inside the tulips.
It's the shape of a tulip.
It's the water in the drinking glass the tulips are in.
It's a day like any other.
For the people who live there, I imagine, it must just be life. Maybe lives burned through a little more quickly and intensely.
A forest of skyscrapers:
Excuse me while I project more of my own subjectivity onto the place.
Brooklyn was over years ago?
First the Beats, then the Hippies, then came the Hipsters?
You know, the Bonfire Of The Vanities was about very similar circumstances: The satire of the liberal intelligentsia is pretty rich, as well as the Southern Gentleman's WASP 'rejuvenation.' You just know Christopher Hitchens had to get-in on that action:
From the Late Show in 1989 with Howard Jacobson.
New York City is unlike most other places in America. Was Tom Wolfe seeing things clearly, as they really are?
As posted: Maybe some deeper currents from Romanticism to Modernism to Postmodernism are worth thinking about. As I see things, many people who care deeply about the avant-garde also can bind themselves to ever narrower political and ideological commitments.
The journey of The Western Self bears proper care.
According to some folks at The New Yorker magazine, the only answer to injustice is radical and revolutionary equality.
To be fair, the logic embedded within much radical chic usually reveals itself to be cool at first, the same old murderously bad doctrinaire utopianism a little later on:
Avant-garde to avant, huitard?
Not the 'right' kind of emptiness for Richard Brody, at The New Yorker, in Todd Phillips' 'The Joker.'
'"Joker" is an intensely racialized movie, a drama awash in racial iconography that is so prevalent in the film, so provocative, and so unexamined as to be bewildering.'
Brody's review is as much about historical events (The Central Park Five), and moral judgments surrounding these historical events (racist and nothing else, Trump is horrible) as it is about the movie.
Apparently graffiti art does have a price, and it may be much more than $$$:
Ruling that graffiti — a typically transient form of art — was of sufficient stature to be protected by the law, a federal judge in Brooklyn awarded a judgment of $6.7 million on Monday to 21 graffiti artists whose works were destroyed in 2013 at the 5Pointz complex in Long Island City, Queens.
Would you be willing to undermine property-rights and the rule-of-law?
NY Curbed had original 5Pointz coverage here.
A NY Times beat reporter shared in the suffering of those graffiti artists whose 5pointz canvas was whitewashed in preparation for demolition by owner Jerry Wolkoff.
'One street artist, who would give his name only as Just, had at least two works painted over. He spent hours early Tuesday gazing at the whitewashed buildings, leaning against a red-brick wall across the street. Then he bought himself a tall glass of beer, which he sipped slowly from a brown paper bag.
"Heartbreaking," he said. "This is not just about graffiti — it's about the unity of people who met here from all over the world." He paused and took a drink. "That's what really hurts."
Three photos and some backstory here. 5pointz had become something of a graffiti mecca, arguably more than the sum of its parts:
Once the real-estate market began heating-up in NYC, Wolkoff decided to whitewash his building overnight..
Every bit of graffiti scrawled there over 40-years was at his discretion.
Personally, I don't take pleasure in the erasing of people's hard work and creativity, nor in the breaking-up of a graffiti-collective which traveled far and wide to get to 5pointz, nor even in the iconic stature they gave the place, but David Thompson sums it up pretty well:
'The moral of the story, gentlemen, is buy your own canvas'
The pathos in the Times article stops short of a familiar 'art will unite all races, classes, & genders,' type of Leftist political ideology.
I"m getting a sense that even should graffiti become a longer-lasting vehicle for artistic expression, beyond the street, it likely began for many non-taggers possibly in affect, driven by ideology, or the boredom and rebellion of the suburbs and people looking for some meaning in their lives.
What are they overlooking? What are they looking for? What do the people looking at the work might think they're looking at?
Or perhaps it would have been better to celebrate the way street-culture and graffiti has interacted with money and market forces through tourism. 5pointz arguably was a tourism draw.
From The Times piece:
'Though street art is meant to be temporary, 5Pointz became known as a graffiti museum. And the medium itself, once considered a symbol of urban unraveling, became a sought after gallery-worthy commodity, with work from street artists like Banksy commanding millions of dollars. Which is one of the reasons the whitewashing of 5Pointz's walls was greeted with such vociferous dismay. "What?! What did they do?!" cried a tour guide named Hans Von Rittern, as he raced out of a tour bus early Tuesday, his arms wide, his face crumpling as soon as he caught sight of Ms. Flaguel. They embraced tightly and wept.'
I can think of some possible messages being sent by the law:
–You don't have to work and own something to have ownership in it (normalizing a collectivism which rejects the property-rights of others…thus your property rights as well…for what's to stop the next guy from tagging over your tag?). Someone else owns all this building anyways, so screw him, and screw the guy who came before me too.
–The value of artistic creation is yet again associated with money in the modern world (partially out of guilt, I suspect), and not so much with self-expression, technique, craft, freedom, and moments which can elevate and expand, offering meaning within a process.
–The criminality associated with graffiti is also tactily rewarded/overlooked by a court of law (there are real victims to the kinds of activity that can accompany tagging). I would much rather have lawmakers and law enforcers hold a simple line, rather than set the wrong incentives.
It can't have been a good day for those who lost something. It's hard out there.
Here's a video:
More broadly, romanticizing the logic of the street, and taggers, comes with its own risks. Celebrate the spirit of creative lawlessness and turf warfare with the full acceptance that there ain't much law involved. I'm sure 5pointz served as an escape, and a positive environment for many, but all the other things going on in these neighborhoods aren't so uplifting, hence, it's importance.
That's right Banksy, it's still a tagger's world:
Related On This Site:Heather MacDonald At The City Journal: 'Radical Graffiti Chic'
So, You're Telling Me What's Cool?-Theodore Dalrymple At The City Journal: 'Banksy In Neverland'
Trading Robert Moses for Brailia…an authoritarian streak?: Brasilia: A Planned City…And Aesthetics…Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?
Under A Green Moon-Ira Stoll At The New York Sun: 'Comma in the New Yorker Opens Up Quite a Vista Of Liberal Parochialism'
From The New Yorker: 'Writing Powered By Amtrak'
Some High & Low Links-Reactions To Art As Liberation Towards (S)elf
Via Edward Feser: 'Masculinity & The Marvel Movies'
Hmmm..I'm still listening to contrary voices:
'On the traditional understanding of masculinity, a man's life's work has a twofold purpose. First, it is ordered toward providing for his wife and children. Second, it contributes something distinctive and necessary to the larger social order of which he and his family are parts.'
'Liberal individualism, both in its libertarian form and its egalitarian form, replaced this social and other-directed model of a man's life's work with an individualist and careerist model, on which work is essentially about self-expression and self-fulfillment…'
As posted: This Wendell Berry quote, from on "tolerance and multiculturalism," from his essay "The Joy of Sales Resistance", has stayed with me:
'Quit talking bad about women, homosexuals, and preferred social minorities, and you can say anything you want about people who haven't been to college, manual workers, country people, peasants, religious people, unmodern people, old people, and so on.'
Please do keep in mind Wendell Berry is NOT going to buy a computer.
Hmmm….he's a little out there, but Alexander Stoddart's a classicist, working in a medium with less immediacy but long pedigree:
Related On This Site:
Denis Dutton suggests art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth) Review of Denis Dutton's 'The Art Instinct'
Repost-Ah, Look At All The Lonely People-'Jeff Koons Is Back' Via Vanity Fair
-Banksy's website here. Newsweek's piece: 'See You Banksy, Hello Invader.'
Via C-SPAN-The Historical Context Of Allan Bloom
Thanks to a reader.
Quite a varied discussion on Bloom's surprise 1987 bestseller: 'The Closing Of The American Mind'
Does rock/popular music corrupt the souls of youth in preventing them from evening-out the passions; from pursuing higher things that a quality humanities education can offer?
Might such a lack allow political ideology to offer young people something to do, something to be, and something of which to be a part?
A questioning of premises, with varied disagreement, including that from an Emersonian.
–Heather McDonald At The WSJ: ' The Humanities Have Forgotten Their Humanity'
-Update And Repost- From YouTube: Leo Strauss On The Meno-More On The Fact/Value Distinction?'
–Repost-From Darwinian Conservatism: 'Nietzsche–Aristocratic Radical or Aristocratic Liberal?'
-Update And Repost: 'A Few Thoughts On Allan Bloom–The Nietzsche / Strauss Connection'
– Various Products Of Radical Reason And Reactions To Them- John Gray At The New Statesman
Does Religion Do Dirt On The Arts & Life? Ay, There's A Fire Burning Beneath That Bonnet
November 8, 2019 November 8, 2019 / chr1	/ Leave a comment
In criticizing the woke, social justice true-believers trying to impose their ideas of 'cultural appropriation' upon fiction writers like Lionel Shriver (You can't write black characters. We will colonize language! We will colonize the imagination!), a reader points out the following:
First, I wrote, in shared criticism of such people:
'If you're looking to art for moral instruction, or for canned lines to solidify group membership, political affiliation and/or ideological identification, you're probably doing dirt on the arts and life.'
Anonymous wrote back:
'Check out Kanye:'
Dear Reader, can you tell the dancer from the dance?
Going to church is probably as much about scents and sounds, chanted words and ritual performace as much it is about doctrine for a lot of people, a lot of the time. Here, a lot of hearts and minds can be changed.
Maybe the church and its doctrines proscribe limits which also harm the creative artist, just as do so many social justice ideologues, intersectionalists and radicals colonizing many university studies and HR departments.
Given other failures in American civic culture lately, including the more obvious ones within the entertainment and popular music industries, it's not surprising the same channels are now used for religious conversion.
In fact, I've kind been waiting for the other shoe to drop.
There's something very funny to me about the Quakers trying to stay hip with social-justice appeal:
It'd be nice if many secularists and political liberals said something like the following: If we continue to secularize society, we will entrench many postmoderns, activists, radicals, people steeped in resentment, and narrow socialist ideologues, but the gains in liberty will be worth it.
We might even inspire a return to old-timey religion. If this happens, we will freak-out about this turn of events.
Recently, British popular thinker Alain De Botton floated the idea of building an 'atheist temple' in the heart of London. He recommends combing through religious practices for useful organizing principles in response to the New Atheists. You can read more about it here, which includes a radio interview/podcast.
Did the Unitarian Universalists get there first, with a mishmash of faith and secular humanism?
Towards a theme: Perhaps you've also heard of the Rothko chapel, in Houston, Texas:
'The Rothko Chapel, founded by Houston philanthropists John and Dominique de Menil, was dedicated in 1971 as an intimate sanctuary available to people of every belief. A tranquil meditative environment inspired by the mural canvases of Russian born American painter Mark Rothko (1903-1970), the Chapel welcomes over 60,000 visitors each year, people of every faith and from all parts of the world.'
There's even a suite of music by Morton Feldman, entitled 'Rothko Chapel'
Related: A definition of humanism:
"'…a morally concerned style of intellectual atheism openly avowed by only a small minority of individuals (for example, those who are members of the British Humanist Association) but tacitly accepted by a wide spectrum of educated people in all parts of the Western world."
Roger Scruton At The WSJ: 'Memo To Hawking: There's Still Room For God'
Related On This Site: From Darwinian Conservatism: 'The Evolution of Mind and Mathematics: Dehaene Versus Plantinga and Nagel'…
From Edward Feser: 'Nagel And His Critics Part IV'
John Gray Reviews Jonathan Haidt's New Book At The New Republic: 'The Knowns And The Unknowns'
Steven Pinker somewhat focused on the idea of freedom from violence, which tends to be libertarian. Yet, he's also skeptical of the more liberal human rights and also religious natural rights. What about a World Leviathan?: At Bloggingheads Steven Pinker Discusses War And Thomas Hobbes…From Reason.TV Via YouTube: 'Steven Pinker on The Decline of Violence & "The Better Angels of Our Nature"'…Simon Blackburn Reviews Steven Pinker's "The Blank Slate: The Modern Denial Of Human Nature" Via the University Of Cambridge Philosophy Department
Evolutionary psychology and moral thinking: Franz De Waal At The NY Times 10/17/10: 'Morals Without God?'…
Timothy Snyder Responds To Steven Pinker's New Book At Foreign Policy: 'War No More: Why The World Has Become More Peaceful'
Charles Murray At The New Criterion: 'Belmont & Fishtown'
Deeply Uncool: Global Avant-Gardening-Some Links
October 14, 2019 October 14, 2019 / chr1	/ Leave a comment
Some photos from James Lileks: 'Nearer My God To Mies:
'There was no good reason churches had to cast off a thousand years of tradition and start dressing up like bank branches, but that's exactly what they did.'
Why don't you stop by the lobby Tuesday and ask for John? He's the branch manager.
Maybe some of these architects lacked the skill, orginality and depth of vision, of, say, Gaudi?
In the meantime, I'm still hoping someone's going to attach a doomsday bunker to an Aztek, but until that day, a guy can still dream of the Family Truckster. Sweet nostalgia.
Freedom, baby!:
On that note, it's always good to keep an eye on the avant-garde.
This just in: David Byrne, lead singer of the Talking Heads, isn't avant-garde.
Here are two of the guys from Red Letter Media, discussing, with some affection and ironic distance, David Byrne, discussing, with some affection and ironic distance, malls in Texas and the American Dream, among other things:
Is buying a $12,500 Barcelona Diagonal Pool table (member price $10K) from MoMA avant-garde?
Is sitting on the subway, sizing-up people you don't know, merging the arts with rather naked political ideology, avant-garde?
The other day, on the subway, I observed an American male in contemporary business-casual costume. The color of his trousers was richly nondescript.
Is 'Climate-Change Trans Counseling' avant-garde?
What about bodies juxtaposed in space within collective interpretative dance? At Peace Pavilion West, we channel structured free time into political awareness and Earth Activism. Touch flesh to leaf. Come on down to the Human Pagoda, my children. It is time:
Help me out, here:
Repost-Live Here And Make Honey In Nature's Hive
October 8, 2019 / chr1	/ Leave a comment
James Lileks:
'I share many of the New Urbanist ideas for cities, but I can't cast my lot in with the group because they are screwball-daft when the subject of cars comes up, and will entertain any inconvenience as long as it's anti-car. I don't want to ride a got-damned bicycle to work. Most people don't. Period.'
'Woman Who Lived In A Micro-Apartment Doles Out Life Advice:'
"Living in that tiny space made my life so much bigger," Cohen told The Post. "My book is about living the life you want in whatever size you choose — it's not just about learning to live smaller, but smarter."
The simple life has its appeal.
Of course, individual choice eventually comes into conflict with planned communities and group obligations, to say nothing of taxes and regulations borne by other individuals…
I'm guessing Seattle's Yesler Terrace project is still mostly pipe-dream, but if elected, I promise a social-worker, a community garden, full kindergarten empowerment and adult employment in every cell block:
'The new neighborhood will bring together people from many walks of life, ethnic backgrounds and income levels. Partnerships will help strengthen the social fabric of the community by providing open spaces and community centers for gathering, and programs to increase health, academic achievement and economic opportunity.'
At the New Urbanist website:
"Only when humans are again permitted to build authentic urbanism — those cities, towns, and villages that nurture us by their comforts and delights — will we cease the despoiling of Nature by escaping to sprawl."
As previously posted:
Whatever your thoughts on sprawl, here are some of the groups, who, in my opinion, are involved:
–Greens and activists who want to control and regulate the energy sector according to their understanding of nature. Or they at least will control much lawmaking and the political process through activism, while directing massive amounts of federal taxpayer money to developing this vision (chosen and controlled by politicians whom they favor). Whatever's going on with the climate, they're usually willing to overlook the political waste, corruption, higher costs of gas and basic services and fewer jobs that could make us like Europe, without many of the benefits.
–The products of modernism and modernist architecture. Some modernists believe in utopian and semi-utopian visions of the future, or simply, a better world where people should be rounded up and live happily according the visions of a few artists, architects, and city-planners. They don't like the suburbs too much.
–Collectivists, humanists and multicultural types who like a broad, 'equality of outcome,' definition of democracy and believe there will be room for everyone, all races and classes, in the new urban environment (more like European social democrats) if just the right people are in charge.
–Anyone with a monied, career or professional, personal or identity-based stake in this vision.
Bob Zubrin pointed out the problems of environmentalism, and the authoritarian impulses behind many environmentalist goals and methods, which I've applied to the urbanists in parentheses below:
After the utopian dreams fade, and when the money runs-out, you often just end-up with a movement which further Left types will use to gain leverage, as in Europe:
1. There isn't enough to go around (suburbs waste resources like gas, electricity, and materials in addition to lost productivity and time)
2. Human nature needs to be constrained as a result (Trains, buses and bikes are the preferred method of transportation instead of cars…while apartments, co-ops and living units instead of houses in the suburbs are the places to live)
3. Someone needs to be in charge (Someone like Bloomberg, or similarly paternalistic leaders are ok as long as they line up with the message and enforce the right laws from the top down)
4. We volunteer ourselves for the job (Someone's got to build a vision of the future, and the vision of the artist or architect, or city planners for example, may be enough for the rest of us to live in much like occurs in modernist architecture).
If you've been following current cultural trends, there's been some native New Yorker pushback against the hipsters in Williamsburg. These urban dwellers often arrive from the suburbs, moving to urban centers in search of identity, group meaning, and membership with a kind of collectivist, artistic, modernist to postmodernist impulse that lines up with urbanism. They are changing our culture in many ways.
See Also: Briton Roger Scruton perhaps also wants America to be more like Europe, less rootless, wasteful, and tramping the flowers. In modernism's place (souless airports, blank modern facades speaking only to themselves) Scruton suggests Leon Krier's New Urbanism and a return to more Classical architecture. Repost: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?
Brasilia: A Planned City and Review Of Britain's "Lost Cities" In The Guardian
Repost-Via Reason: 'Salvador Allende's Cybersocialist Command Center'…Cities should be magnets for creativity and culture? some people don't want you to have the economic freedom to live in the suburbs: From Foreign Policy: 'Urban Legends, Why Suburbs, Not Cities, Are The Answer'…From Grist.Org Via The New Republic Via The A & L Daily: 'Getting Past "Ruin Porn" In Detroit'…
You don't get the progressive base without the restrictive laws…they are baby steps to paradise: Richard Epstein At Defining Ideas: 'City Planners Run Amok'…Richard Epstein At The Hoover Institution Journal: 'Three Cheers for Income Inequality'…Richard Epstein At The Hoover Institution's Defining Ideas: 'California's Kafkaesque Rent Control Laws'
What if you're economy's already depressed? Don't make a maze of laws and build stadiums and museums on the public dime…get new industry: From Reason: 'Reason Saves Cleveland With Drew Carey'…Reason also suggests that if such creative/entrepenurial spirit gets off the ground, it will have to get around the public sector in Detroit. From Reason Via Youtube: 'Is Harrisburg's Nightmare America's Future?'
Repost-Via A Reader Via ABC Gotham-'Ugliest Buildings, Part I: Brutalism'
July 29, 2019 / chr1	/ Leave a comment
Full podcast here.
Brutalist architecture flourished from the 1950s to the mid-1970s, having descended from the modernist architectural movement of the early 20th century. The term originates from the French word for "raw", as Le Corbusier described his choice of material béton brut, meaning raw concrete in French.'
Our local host and local guest pick favorite (unfavorite) examples of 'raw concrete' buildings in NYC and alternately discuss some facts about each one.
Some buildings mentioned: 375 Pearl Street is being worked on. The 'Krull' Long Lines building is not for use.
As posted
Some people who commissioned Boston's City Hall were probably thinking they were bringing something new and wonderful into the world: Inspiring, modern, transformative.
The folks at bureaucratic levels up-top would steer this concrete ship, scanning the Horizon for The Future. The People down below, justly and benevolently guided, would feel welcome and do people-y, citizen-y things as though in a terrarium.
Maybe that's why it's not so popular.
Well, at least it isn't Buzludzha, The Communist Spaceship plopped down as though from a world of Pure Ideology, Nature properly subdued:
–Visit Lileks.com. A fine humorist with a sharp pen and a keen eye.
Here's Australian art critic Robert Hughes discussing the Albany plaza, and almost hyperbolically criticizing the aims of modernist architecture.
***Fun fact, he pronounces the "Boogie Woogie" the "Boo-gie Woo-gie."
Modernism goes to the movies.
Some pictures at the link.
There's mention of the Mt. Rushmore house at the end of North By Northwest. I suspect some among us have wanted to live in a modernist lair.
From an article in Der Spiegel on the Bauhaus, where modernism got its start:
'The real feat achieved by Gropius and his cohorts was to have recognized and exposed the sociopolitical and moral power of architecture and design. They wanted to exert "effective influence" on "general conditions," fashion a more just world and turn all of this into a "vital concern of the entire people."'
See Also: They designed a city in the heart of Brazil that really doesn't work for people: Brasilia: A Planned City
No thanks to living in planned communities upon someone else's overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…Repost-Via Reason: 'Salvador Allende's Cybersocialist Command Center'…Cities should be magnets for creativity and culture? –From The Atlantic: Richard Florida On The Decline Of The Blue-Collar Man…From Grist.Org Via The New Republic Via The A & L Daily: 'Getting Past "Ruin Porn" In Detroit'… some people don't want you to have the economic freedom to live in the suburbs: From Foreign Policy: 'Urban Legends, Why Suburbs, Not Cities, Are The Answer'
A structure in the desert…not even a city Update On LACMA, Michael Heizer And The 'Levitated Mass'-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint…
Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton's 'The Art Instinct'
Repost-Roger Scruton At The New Atlantis: 'Scientism In The Arts & Humanities'
Full piece here (link may not last).
Scruton:
'It is true that the theory of the meme does not deny the role of culture, nor does it undermine the nineteenth-century view that culture properly understood is as much an activity of the rational mind as is science. But the concept of the meme belongs with other subversive concepts — Marx's "ideology," Freud's unconscious, Foucault's "discourse" — in being aimed at discrediting common prejudice. It seeks to expose illusions and to explain away our dreams. But the meme is itself a dream, a piece of ideology, accepted not for its truth but for the illusory power that it confers on the one who conjures with it. It has produced some striking arguments, not least those given by Daniel Dennett in Breaking the Spell, in which he explains away religion as a particularly successful but dangerous meme.'
Those concepts according to Scruton, are not science, but rather scientism.
And he focuses back-in on judgment, or the capacity for judgment attached to 'I,' and an 'I' which looks towards transcendence:
'Surely human beings can do better than this — by the pursuit of genuine scientific explanation on the one hand, and by the study of high culture on the other. A culture does not comprise works of art only, nor is it directed solely to aesthetic interests. It is the sphere of intrinsically interesting artifacts, linked by the faculty of judgment to our aspirations and ideals. We appreciate works of art, arguments, works of history and literature, manners, dress, jokes, and forms of behavior. And all these things are shaped through judgment. But what kind of judgment, and to what does that judgment lead?
Interesting quote by Scruton in a debate about Islam, at min 6:35 of video 4/4:
'Universal values only make sense in a very specific context…the attempt to universalize them, or project or impose them…just leads to their appropriation by sinister forces."
-Steven Pinker, Harvard experimental psychologist and cognitive scientist wrote a piece in the New Republic, entitled: 'Science Is Not Your Enemy'
-Leon Wieseltier, literary editor of the New Republic since the 60′s, responded at The New Republic: 'No, Science Doesn't Have All The Answers.'
-Ross Douthat, conservative Catholic columnist at the Times jumped in the fray: 'The Scientism Of Steve Pinker'
-Jerry Coyne, evolutionary biologist, responded to Douthat.
-Wieseltier jumped back in with: 'Crimes Against Humanities: Now science wants to invade the humanities. Don't let it happen.'
-Now Daniel Dennett, philosopher, cognitive scientist, one of the New Atheists and Boston-based secularist responds to Wieseltier:
'Pomposity can be amusing, but pomposity sitting like an oversized hat on top of fear is hilarious. Wieseltier is afraid that the humanities are being overrun by thinkers from outside, who dare to tackle their precious problems—or "problematics" to use the, um, technical term favored by many in the humanities. He is right to be afraid. It is true that there is a crowd of often overconfident scientists impatiently addressing the big questions with scant appreciation of the subtleties unearthed by philosophers and others in the humanities, but the way to deal constructively with this awkward influx is to join forces and educate them, not declare them out of bounds.'
So, how do you teach the arts and tilt the culture? Camille Paglia has some ideas, including the idea that George Lucas has taken root in more 20th-century minds than anyone else with his space opera:
Related On This Site: Repost-Adam Kirsch At The New Republic: 'Art Over Biology'…From Edward Feser: 'Nagel And His Critics Part IV'
Evolutionary psychology and moral thinking: Franz De Waal At The NY Times 10/17/10: 'Morals Without God?'…From The Stanford Encyclopedia Of Philosophy: Charles Sanders Peirce
Larry Arnhart At Darwinian Conservatism Reviews E.O. Wilson's 'The Social Conquest Of Earth'…Heather McDonald At The WSJ: ' The Humanities Have Forgotten Their Humanity'
From Nigel Warburton's Site: A Definition of Humanism?…A Debate: Would We Better Off Without Religion?…Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…From YouTube: Roger Scruton On Religious Freedom, Islam & Atheism…
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