Four die in a helicopter crash near the world's longest zipline, in the UAE's northern-most emirate.
from BBC News - World https://bbc.in/2QXx536
Monday, 31 December 2018
France to help combat Channel smuggling
Six Iranian migrants are found on the Kent coast as the home secretary cuts short a holiday to deal with the issue.
from BBC News - World https://bbc.in/2Ak3q9S
from BBC News - World https://bbc.in/2Ak3q9S
DoubleTree Portland hotel fires staff who evicted black guest
Police escorted Jermaine Massey out of the DoubleTree Portland after he called his mum in the lobby.
from BBC News - World https://bbc.in/2Tist3Y
from BBC News - World https://bbc.in/2Tist3Y
What it’s like to be Black and Argentine
Afro-Argentines often feel like they’ve been written out of history and are mistaken for foreigners in their own country.
from BBC News - World https://bbc.in/2s2fJ6c
from BBC News - World https://bbc.in/2s2fJ6c
Bangladesh election: Voting disrupted by violence
Clashes between ruling party and opposition supporters have resulted in 17 deaths.
from BBC News - World https://bbc.in/2Sv4fni
from BBC News - World https://bbc.in/2Sv4fni
Spoken word poet Dylema: On a stroll through Africa in 2018
Dylema leads us through key events on the continent this year in a specially commissioned poem.
from BBC News - World https://bbc.in/2BZzjVp
from BBC News - World https://bbc.in/2BZzjVp
Lederhosen love among Austria's millennials
Lederhosen and dirndl dresses are making a comeback in Austria.
from BBC News - World https://bbc.in/2AmkSL1
from BBC News - World https://bbc.in/2AmkSL1
Female fightback... 2018 in hashtags
A look at the year's most influential hashtags used by women on social media.
from BBC News - World https://bbc.in/2RntUB7
from BBC News - World https://bbc.in/2RntUB7
The 90-year-old back-flipping daredevil
This Canadian man is being called the world's most extreme grandpa.
from BBC News - World https://bbc.in/2AntDnS
from BBC News - World https://bbc.in/2AntDnS
In search of Leonard, my martyred ancestor
Eli Melki looks for traces of a relative who was killed at 33 during a wave of attacks against eastern Turkey's Christians.
from BBC News - World https://bbc.in/2BMln0I
from BBC News - World https://bbc.in/2BMln0I
2018 in news: The alternative end-of-the-year awards
From the ridiculous to the more ridiculous, here are the weird stories that caught our eye this year.
from BBC News - World https://bbc.in/2s3oDAp
from BBC News - World https://bbc.in/2s3oDAp
Why legalising gay sex in India is not a Western idea
India's decision to decriminalise gay sex has taken the country back to its roots, some historians say.
from BBC News - World https://bbc.in/2ApBWzF
from BBC News - World https://bbc.in/2ApBWzF
Remembering the entertainment and arts figures we lost in 2018
Remembering some of the figures from music, film, TV, radio and literature who died in 2018.
from BBC News - World https://bbc.in/2F03HlD
from BBC News - World https://bbc.in/2F03HlD
Bangladesh clothing factories: Are they safe now?
Are garment factories in Bangladesh safe five years after the Rana Plaza disaster?
from BBC News - World https://bbc.in/2s3oVat
from BBC News - World https://bbc.in/2s3oVat
Africa's year in pictures 2018
A selection of the best photos from across and about Africa this year.
from BBC News - World https://bbc.in/2GIKAyK
from BBC News - World https://bbc.in/2GIKAyK
Fox News Breaking News Alert
Fox News Breaking News Alert
Alabama knocks off Oklahoma in Orange Bowl, sets up National Championship showdown with Clemson
12/29/18 9:08 PM
Alabama knocks off Oklahoma in Orange Bowl, sets up National Championship showdown with Clemson
12/29/18 9:08 PM
Fox News Breaking News Alert
Fox News Breaking News Alert
Illegal immigrant accused of killing California cop arrested, Fox News confirms
12/28/18 10:31 AM
Illegal immigrant accused of killing California cop arrested, Fox News confirms
12/28/18 10:31 AM
NASA pioneer Nancy Grace Roman, the 'Mother of Hubble,' dead at 93
Nancy Grace Roman, known as the "mother" of the Hubble Space Telescope and the first woman to hold an executive position at NASA, died on Christmas Day at the age of 93.
from FOX News https://fxn.ws/2Thqn4r
from FOX News https://fxn.ws/2Thqn4r
With U.S. departure, Syria's Manbij braces for upheaval
from Yahoo News - Latest News & Headlines https://yhoo.it/2GLTewv
California authorities seek motive in triple slaying
from Yahoo News - Latest News & Headlines https://yhoo.it/2BP0SR6
DHS chief blames Congress, courts for ‘humanitarian crisis’ at southern border
from Yahoo News - Latest News & Headlines https://yhoo.it/2EYNGMP
How F-22 and F-35 'DNA' Will Make the 'New' F-16 Viper a Real Killer
from Yahoo News - Latest News & Headlines https://yhoo.it/2LFnR5w
Bali's Agung volcano spews ash in fresh eruption
from Yahoo News - Latest News & Headlines https://yhoo.it/2LHA8WZ
6 people injured in jetway collapse at Baltimore-Washington International Airport
from Yahoo News - Latest News & Headlines https://yhoo.it/2EY9EiE
California Will Become First State to Require Pet Stores to Sell Only Rescue Animals
from Yahoo News - Latest News & Headlines https://yhoo.it/2Aku1nm
Origin of virus that hobbled newspapers still unclear
from Yahoo News - Latest News & Headlines https://yhoo.it/2SyWlcN
UK to spend over $130 million on ferries to cope with no-deal Brexit
from Yahoo News - Latest News & Headlines https://yhoo.it/2RngW69
Missouri man fatally shoots girlfriend, her kids, her mother
from Yahoo News - Latest News & Headlines https://yhoo.it/2EYeeyr
Egypt kills 40 'terrorists' in crackdown after Giza attack
from Yahoo News - Latest News & Headlines https://yhoo.it/2RoYJW6
The Economists, Military, Moralists & Politicians Running Brazil
from Yahoo News - Latest News & Headlines https://yhoo.it/2AxjC7Z
Sherman, T-34 and Cromwell: These Three Allied Tanks Won World War II
from Yahoo News - Latest News & Headlines https://yhoo.it/2Rnqqyj
Most popular Yahoo News photo galleries of 2018 — the countdown
from Yahoo News - Latest News & Headlines https://yhoo.it/2Q0ry6d
Heads up: Israeli woman stumbles upon Roman busts
An Israeli woman walking near ancient ruins noticed a head sticking out of the ground, leading to the uncovering of two Roman-era busts, archaeologists said Sunday. The life-size sculptures, carved in limestone, were found in the northern city of Beit Shean earlier this month, with the Israel Antiquities Authority dating them to the late Roman period, some 1,700 years ago. The well-preserved busts are of men, one of them bearded, sculpted in the Oriental style that was becoming fashionable at the end of the Roman period, according to Eitan Klein, deputy head of the IAA's theft prevention unit.
from Yahoo News - Latest News & Headlines https://yhoo.it/2QXCpTZ
Fears of intimidation, violence as Bangladesh set to vote
from Yahoo News - Latest News & Headlines https://yhoo.it/2Tlqnkd
Low mileage 1976 Subaru Brat sells for high dollar price
from Yahoo News - Latest News & Headlines https://yhoo.it/2R2W4C7
Gravely ill boy whose mother had to fight to visit from Yemen dies
from Yahoo News - Latest News & Headlines https://yhoo.it/2GMS1F4
Two migrant children recently died in Border Patrol custody. There were documented warning signs
from Yahoo News - Latest News & Headlines https://yhoo.it/2RjSL8R
Does the U.S. Navy Have Another Carrier-Killer Missile to Worry About?
from Yahoo News - Latest News & Headlines https://yhoo.it/2CHaAqg
Germany: Drugged driver forces car onto airport tarmac
from Yahoo News - Latest News & Headlines https://yhoo.it/2Tg6WZN
Cyber-attack hits US newspaper deliveries: report
from Yahoo News - Latest News & Headlines https://yhoo.it/2LFnQ1s
Partial government shutdown hitting some Bay Area National Parks hard
from Yahoo News - Latest News & Headlines https://yhoo.it/2StsfHw
Brexit May Not Happen, Trade Secretary Says
from Yahoo News - Latest News & Headlines https://yhoo.it/2VfMgDj
Ask the Captain: What airplanes did you fly in your career?
Prior to becoming an aviation safety consultant, and USA TODAY columnist, John Cox flew a wide variety of commercial airplanes.
from Yahoo News - Latest News & Headlines https://yhoo.it/2So6icU
No. 1 story of 2018 isn't anything Donald Trump has done. It's the death of John McCain.
from Yahoo News - Latest News & Headlines https://yhoo.it/2EU80yI
Media All the Way Down: Art and Conspiracy at the Met Breuer
CONSPIRACIES RESIST DESCRIPTION. Should one write about them with curious dispassion, and risk reducing them to a cheap Wunderkammer of fringe ideas, or should one follow each strand in a web of nested citations and risk becoming tangled in tedious pedantry? Thankfully, the Met Breuer’s recent exhibit, Everything Is Connected: Art and Conspiracy, curated by Douglas Eklund and Ian Alteveer, offers an alternative, one that will hopefully bring new energy to the tired discussions about a broad range of American conspiracies. As the curators explain in their handsome and deeply researched exhibition catalog, they deliberately avoided the term “conspiracy theory,” which seemed reductive and dismissive (famously, the CIA encouraged operatives to use the term in their quiet campaign against alternative explanations of JFK’s assassination). “Theory,” with its etymological root in spectatorship, is not their aim. Instead, the exhibit does something far more compelling: it dramatizes conspiracies — those real, imagined, and those somewhere in between — showing a world full of uncanny images and unreliable narrators, of details that always seem to recede and connections that always seem to expand, of facts that are so shaky one can only grasp them when falling. Here, ideas are constantly moving toward conclusions, asymptotically.
Some of the exhibit’s most striking works are Mark Lombardi’s baroque mappings of shadowy international dealings, including the piece he considered his “ur-drawing,” the BCCI-ICIC & FAB, 1972–91 (4th Version). It charts a constellation of banks that facilitated fraud and money laundering, with connections to the CIA, drug cartels, terrorist groups, oil magnates, and politicians. Walking along the nearly 12-foot-long diagram — with its bewildering lines between obscure security firms and mostly unfamiliar names — is as impressive as it is bewildering. Similar to looking over a vast mountain range, it is easy to marvel at its sublimity yet awfully difficult to scale each craggy slope.
This question of scale is at the heart of Lombardi’s work, which shows an ambivalence toward the possibility of representing conspiracy at all. On the one hand, Lombardi regularly updated his charts, issuing new editions that sprawled ever further along gallery walls, approaching a more complete record in each iteration. Yet at the same time, his work pulls back, insisting on a minimalist rendering that withholds much more than it offers. (He had uncovered far more evidence, which he detailed on index cards currently held at the Whitney.) This tension creates the sense that some grand conclusion is just about to click into place. Lombardi offers a key on the side of the maps, explaining the six different types of lines and their meanings, but these meanings are hopelessly vague. The most frequent connection on his map is “some type of influence or control”; the next is “flow of money, loans, or credit.” Does this influence move along personal relationships, political control, financial backing? He doesn’t explain.
Lombardi offers a hint, however, in the broad arcs that connect each node. He drafted them from a French curve, a paisley-shaped tool derived from the Euler spiral, in which the curvature increases linearly with arc length. Seen only at the widest bend, Lombardi’s connections seem like sections of a circle, but keep tracing it with your imagination, and you will find yourself continuously spiraling inward, turning around the central point, getting closer with each turn, but never actually reaching it. Like gravity, its force is felt, but it can never be grasped.
Nor could Lombardi ever complete his maps. There will always be a new connection, a new detail, a new piece of information to add. He understood that any attempt to capture these relations fully would be as quixotic as making a map the size of the country it charted. Lewis Carroll, in his novel Sylvie and Bruno Concluded, imagined such a cartographic monster. The farmers protested unfurling such an enormous map, because it “would cover the whole country, and shut out the sunlight!” Perhaps this is what Mike Kelley was thinking when he painted Government Operations, also on display at the exhibit, which looks like Lombardi’s work unbound — follow every lead, include every detail, continue every infinite arc, and you might get something like this stormy tangle of black lines with no evident meaning or shape. If Lombardi’s map recalls a gentle cumulus cloud at a distance, Kelley’s is a dark thunderhead threatening to blot out the landscape.
Rather than drawing clouds, Hans Haacke preferred to make them. Before his incisive pieces that, like Lombardi, blurred the distinction between investigation and art, he worked with natural phenomena. Well known for his Condensation Cube, in which water in a clear acrylic cube would condense the relationship between the public and the museum in the form of droplets, he became increasingly interested in systems theory and cybernetics, in the way that a vast number of variables can all concatenate into one self-regulating system. As he became more political during the 1960s, he turned his attention from natural to political systems. If temperature and humidity could conspire to create clouds of unpredictable yet stable shapes, so too could money, corporations, and elite networks.
Through public records kept by the city clerk, Haacke was able to trace the various shell companies that lawyers had erected to hide a vast world of shady financial transactions. From these documents, he produced Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings, A Real-Time Social System as of May 1, 1971. To the left, he shows a tall map of Manhattan with markers that reveal the distribution of Goldman and DiLorenzo’s buildings; to the right, running horizontally, he offers a key listing the details of each building: its address, square footage, price, the name of the shell company that owns it, illustrated with a small image of each building — shops, tenements, skyscrapers. It is one network among many, one variable contributing to the greater system of political and economic power in the city. Significantly, however, it is also only a map of fronts: shell companies and building facades. Architects and lawyers both know well how to build barriers, and Haacke does little to get behind them. Yet just as one need not know the inner workings of each droplet to study larger weather patterns, one need not dig into the central core of each company to study the broader ecology of power in the city. Haacke’s interest in cybernetics is important here — it is a discipline that works with black boxes, discovering new truths through the gestalt of interaction rather than the atomism of reduction. Cybernetics, much like conspiracy, can trace relationships without understanding each node. Both have learned to work with and through the unknown.
The controversy around Sol Goldman and Alex DiLorenzo Manhattan Real Estate Holdings certainly suggests that Haacke framed information that wasn’t meant to be framed. Before it was scheduled to premiere at the Guggenheim, the museum’s director, Thomas Messer, canceled that show and fired the curator. Crossing power brokers and rich patrons was apparently too serious a taboo. The censorship was simply the system maintaining stability; Haacke could hardly have done better at exposing the conspiracy of power. Indeed, his work itself became understood as a conspiracy of sorts. Haacke referred to these real time systems as “double agents”; Thomas Messer called them “an alien substance that had entered the art museum organism.” For both, this installation about facades was also about breaking down facades, threatening the museum from within.
Adjacent to Haacke’s work, Sarah Charlesworth’s April 21, 1978 similarly sounds the depths of surfaces. In March 1978, Aldo Moro, Italy’s former prime minister, was kidnapped by the Red Brigades. On April 19, the newspaper La Repubblica ran a front-page headline, “Moro Assassinato?” He hadn’t been killed (yet), and with mordant wit the Brigades quickly released a photo of him holding the paper that had hinted at his death. The following day, this image appeared in newspapers around the world. Charlesworth collected 20 of them at the UN Bookstore in New York and made copies without any text, only the masthead and photographs. They are displayed serially so that the viewer, looking at each new paper, watches Aldo Moro migrating across the world and across the page, as in The New York Times, where he is shrunken to a small corner beside Saul Bellow and overwhelmed by a looming photograph of L. Patrick Gray as he was leaving court during the Watergate trials. The framed images culminate with a Soviet newspaper that printed photographs of two people reading the second La Repubblica, which contains the image of Moro holding the previous La Repubblica. The mise en abyme — the papers looking at papers — constitutes the proof of life. This is how facts are made. It’s media all the way down.
Each of these artists embraced ambiguity and opacity: Lombardi’s unclear relations, Haacke’s shell companies, Charlesworth’s wordless newspapers. The minimalism within museums looks strikingly similar to censorship within governments; both the artist and the bureaucrat are adept at quietly reframing evidence, manipulating attention, and embellishing details. Each has harnessed the sly power of occlusion. This uncanny mirroring between those who commit conspiracy and those who seek to uncover it ripples throughout the history of the postwar United States. The most influential essay on the subject, Richard Hofstadter’s 1964 essay, “The Paranoid Style in American Politics,” notes this dynamic: “A fundamental paradox of the paranoid style is the imitation of the enemy.” The Ku Klux Klan donned similar ceremonial robes as the Catholics they despised; the John Birch Society constructed conspiratorial cells similar to the communists they imagined everywhere. So too with artists and conspirators. To uncover conspiracy, it seems, is in part to cover it up.
Or to fabricate it. A surprising number of postwar conspiracies, including the first reports of a “flying saucer,” were born on the pages of pulp magazines published by the eccentric visionary, Ray Palmer. The Met Breuer’s exhibit displays one issue of Palmer’s Amazing Stories, which during the late 1940s published a widely read series of tales known as the Shaver Mystery, the ordeals and visions of Richard Shaver, a Pennsylvania welder who was kidnapped by subterranean demons for several years. Shaver had originally written Palmer a letter, and the publisher went on to co-write dozens of tales about the “Deros,” sadistic creatures that secretly tormented humanity. Shaver appears to have had no doubt about their existence, but his stories’ position beside kitschy space operas and weird science fiction suggests their veracity was on unsteady ground. The cover art of the magazines certainly embraced its fantastical elements: the issue at the exhibit features a story called “Gods of Venus,” with an illustration of a scantily clad woman, gun in hand, swinging on a rope through a cavern of mysterious glass spheres. In the inaugural story of the Mysteries, heavily rewritten by the wily Palmer, this paradoxical truth was explicit: “[I]t is tragic that the only way I can tell my story is in the guise of fiction.” Like an esoteric text, the hidden truth was to be found in the crevices between reality, imagination, and interpretation.
Fiction could also work like Haacke’s Condensation Cube, making visible conspiratorial elements that were ubiquitous yet diffuse. In 1967, a number of passengers riding New York City’s subway stumbled upon a grim document. Written in the formal style of a government memo, it predicted an imminent race war: “When that emergency comes, we must expect the total involvement of all 22 million members of the Minority, men, women, and children, for once this project is launched, its goal is to terminate once and for all, the Minority threat to the whole of the American society, and indeed, the Free World.” The report, called the King Alfred Plan (it appears in the exhibit pasted onto Gerald William’s spectacular 1969–’71 painting Wake Up), outlined a blueprint for suppressing the black population and interning them in concentration camps around the country. It had, in fact, been written by John A. Williams as part of his novel about persecuted black authors, The Man Who Cried I Am. Williams had earlier worked at a PR firm, and he knew well how to capture an audience’s attention. After he scattered the pamphlets on the subway, the fiction began to spread, becoming as real as the life of Aldo Moro. Indeed, as Merve Emre argued in The New Yorker, it hardly mattered that the Plan was technically fiction. To many African Americans, it contained a truth that had nothing to do with its origin. For black America, Shaver’s Deros were all too real: they came in the form of police officers, politicians, businessmen, and city planners.
The King Alfred Plan succeeded because of the widespread assumption that the government could have committed these machinations to paper. Indeed, all the artwork here shares a faith in traces — that more often than not, people can, if they look long enough, or search hard enough, find some evidence of a conspiracy. This made good sense in the United States during the second half of the 20th century, which witnessed an exponential growth in record keeping, be it governmental, scientific, or financial. Yet it seems we may be entering an era when conspiracies will no longer leave even the faintest trace — more than that, an era when it will be impossible to imagine what a trace might look like. As self-learning machines continue to process incomprehensibly large pools of data, even those engineers responsible have no idea why programs behave the way they do. All the conspiracies at this exhibit — of money, power, media, and racism — will no doubt endure in new forms, but many of the conspirators will vanish. There will be no way to represent the complex digital processes wending around us, no way to know what an algorithm was “thinking” or “intending.” Someday soon, we may find ourselves yearning for this earlier era of conspiracy, when one could at least believe there was a point toward which the spiral of knowledge could twist.
¤
The post Media All the Way Down: Art and Conspiracy at the Met Breuer appeared first on Los Angeles Review of Books.
from Los Angeles Review of Books http://bit.ly/2LEeraz
Need You — Baby
HISTORY, ESPECIALLY in times of revolutionary change, never progresses as assuredly and purposefully as accounts written decades after the fact would have us believe. Historians have the benefit of knowing how the story ends, and can gently rearrange events in such a way as to show how all signs pointed more or less inevitably to the now-familiar outcome. Even contemporaneous newspaper stories tend to hide the more shambling moments of human doubt and indecision that make up the bulk of real daily life during even the most exciting times. But a look below the surface — at diaries, letters, and other unscrubbed, under-the-radar communication — will always fill in essential pieces of the big picture that received history has little room for.
One now-famous example is “A Bintel Brief,” a section in the Jewish Daily Forward newspaper that ran starting in 1906. “A Bintel Brief” was an advice column that aimed to help Forward readers (mostly Yiddish-speaking immigrants to the United States from Eastern Europe) who were attempting to navigate the manners and customs of their newly adopted home, often with great difficulty. A book-length compendium of the column, first published in the 1970s, today gives a valuable glimpse into the not-necessarily-mundane social and cultural struggles that this hugely significant wave of American immigration had to contend with: How much of my modest salary should I send to my blind father back in Russia? Should I accept a proposal of marriage from a friend of my dear deceased husband, whom I loved more than anything in the world? How do I respond to my new progressive friends, who mock me for going to synagogue?
In a similar vein, if not quite as ambitious, is Where to Score, a booklet-sized collection of classified ads culled from the pages of the newspaper The Oracle of the City of San Francisco (more commonly known as the San Francisco Oracle) during the momentous period of 1966 to 1968. Though the Oracle, founded by poet Allen Cohen, only published 12 issues in a run of less than two years, its importance to the seminal Haight-Ashbury hippie and acid scene — with its plentiful drugs, free love, underground book and record shops, alternative businesses, explorations of non-Western culture and philosophy, and general disdain for the straight world — should not be underestimated. The paper, sometimes referred to as “Haight-Ashbury’s newspaper of record,” operated as a worker-owned cooperative with a typically unorthodox distribution network and was a founding member of the Underground Press Syndicate (which included the East Village Other, the Berkeley Barb, and Detroit’s anarchist paper Fifth Estate). Its staff helped organize the legendary Human Be-In in Golden Gate Park in January 1967, and it sponsored events and symposiums featuring the likes of Zen evangelist Alan Watts, Timothy Leary, and Allen Ginsberg. Today it’s remembered as much for its revolutionary rainbow-colored printing (an early harbinger of the Bay Area’s tech obsession to come?) as for its editorial content, which was a fairly representative slice of the LSD-fueled mystico-psychedelic culture around the Summer of Love.
And then there are the classifieds. It’s hard to imagine that anyone taking a serious look at the Oracle at the time would even have mentioned them: their completely utilitarian function would have been overwhelmed by the higher-wattage writing by and about Leary, Ken Kesey, and Buckminster Fuller, among other counterculture luminaries. But what the classifieds provide that the editorial content of the Oracle doesn’t, is a look at the real community surrounding the paper — that is, its readers. Most of these Haight-Ashbury denizens may have been eager to learn about the discussions of philosophy held in Alan Watts’s Houseboat Summit — a discussion about drugs, governmental systems, and the underground; with Leary, Ginsberg, Cohen, “Zen monk” Gary Snyder, and others — after the fact, but certainly wouldn’t have attended the summit. More significantly, in the largely unknown new world that Haight-Ashbury represented in 1966, the paper served as a central hub around which denizens of that world virtually gathered. Quite a few of these denizens were literally still kids, “lost” in various ways. Like the new arrivals to New York’s Lower East Side in 1906, many of them had recently made the life-changing move to a happening but strange new place promising unlimited riches, whether material or spiritual — now what?
Many of the classifieds reproduced in Where to Score — which was, incidentally, the tongue-in-cheek name of the section for the Oracle’s first few issues — are typical classified fare:
HAPPY BIRTHDAY SHANE
SMITH BROTHERS, basement – attic – cleaning – hauling, reasonable rates.
Freelance artist needs work, illustration, fashion, lettering, signs, etc. Reasonable, reliable. Jim.
But we also see twists that are more or less unique to this time and place:
ARTIST: Experienced in black velvet. Room salary and commission.
The Reno, Nevada, address in that ad suggests that while black-velvet artists may have been popping up all over the country circa 1966, the market for their work was still geographically limited. It’s notable that many Oracle classifieds seeking some kind of response were placed by people in other parts of the country (or Canada) — some of them ready to make the move to the Haight, others simply seeking contact with other freethinkers, in a place where such people were known to congregate.
The hippie/leftist politics of the Haight surface in various forms:
FOOD: Bishops Cafe, 315 Divisidero, S.F., will be feeding people for 25¢ & free if they don’t have it.
Summerhill School to be started. For info write …
DRAFT RESISTERS–YOU ARE NOT ALONE. We have no magic answer to the draft. We can’t tell you how to dodge it. We can tell you how to resist it. Send 10¢ for “Uptight with the Draft?”
Summerhill was an extremely free, democratic, student-centric school model started in the United Kingdom. The draft-resisters ad was, notably, placed by the New York City–based War Resisters League, which raises an interesting point: the editorial content of the Oracle was generally nowhere near as capital-P political as the fiercely confrontational writings of, say, Up Against the Wall Motherfucker, the Youth International Party, the Black Panther Party (based in nearby Oakland), Students for a Democratic Society, or the White Panther Party. The Oracle’s focus was more on mind-expansion than “pigs” or the Vietnam War. Allen Cohen addressed the issue of the Oracle’s less confrontational politics in a look back at the paper years later:
Some writers have seen an escapist gap between the Oracle’s point of view and the antiwar movement, but the Oracle was as committed to the movement as anyone else. We emphasized the unity of political and transcendental ideals, and we had a preference for nonviolence. The mass movement against the war had equal parts of LSD vision, marijuana sensory delight, political ideology, and moral rage.
So, via the classifieds, it seems the War Resisters League and their more overtly militant politics slipped in through the paper’s side door.
Some aspects of hippie or “alternative” culture that surface in the classifieds anticipate the Whole Earth Catalog–inspired DIY/utopian movement that was to blossom in the area a few years later. Again, this is more tuning in and dropping out than taking up arms against Amerikkka’s oppressive racist government:
THE ELECTRIC GARDEN OF EDEN could use any discarded electronics you might have. We are constructing data processing machines to be used by community institutions like the Oracle & the Hip Job Co-op.
Want to build Drop City type geodesic domes in Mendocino. Need materials: 2×4’s, sheet rock, tools, electric shears, chicken wire, cement, tar paper, sheet aluminum, insulator.
PIONEERS WANTED. If you are interested in starting up an out-of-town colony, or if you already have one going, contact — — ,. Donations of land [and] money cheerfully accepted.
Drop City was an artists’ community in Colorado organized largely around Fuller-style domes, which were to figure prominently in the utopian city-planning schemes of many Whole Earth Catalog disciples.
And, of course, there are the hippie entrepreneurs — a group that, for better or worse, turned out to be one of the most enduring legacies of this time and place. How many of these were well-meaning hippies just trying to make a buck, and how many were cynical businesspeople looking to cash in on the latest craze? Who knows?
Psychedelic black lights for the wildest psychedelic lighting.
Hippi-Kits: Flowers – bells – chants – flutes – headbands – incense burners – skin sequin-feathers.
BLOW YOUR MIND, BABY! For our fantastic free list of Underground buttons, posters, and psychedelic goodies (wholesale & retail), write Underground Enterprises…then freak out.
HEAD CLEARING HOUSE. Information exchange for hip businesses.
But flipping through Where to Score, the classifieds that are impossible to avoid, and which add more than a tinge of sadness to the entire project, are the ads from parents and other relatives in various stages of desperation seeking contact from their runaway children. The number of these ads outweighs any other type in the collection, and whether this was the editors’ choice or not hardly seems to matter, since there were clearly a lot of them in the Oracle:
MINA — Please call us or Art at work. We miss you very much. Nothing will upset us if we could only hear from you. We love you.
BETSEY EPSTEIN: Need you — baby. Call collect anytime. Freedom with or without home base. Daisies to you. Mom & Dad.
Debbi, please contact us collect. We love & miss you very much and want you to come home. Kevin & Kerry ask about you too. Love, Mother and Dad.
WANTED: Debbie & Vickie, contact mothers at once or Dee. We really care
Linda-Kim or Mari L. Will you trust me enough to call collect and let me know you’re alright? Love Mother.
It’s worth noting that none of these parents panicked and called the police, though no doubt plenty of others did. But what information can we glean from this apparent outpouring of “please call home” classifieds? Obviously no parent is going to be thrilled about their son or (especially) daughter running away from home, and from a mother or father’s perspective the reputation of Haight-Ashbury circa 1967 was reason enough to be doubly concerned.
But let’s not be so quick to dismiss these concerns as the cluelessness of a bunch of hopeless squares. Since we can assume that at least some of them skimmed the occasional copy of the Oracle, they would presumably have seen the numerous ads in the very same classified section from men who appear to be located at various points on the creep/perv scale. These characters have certainly always existed, but were perhaps emboldened by the Haight’s libertine atmosphere, and the presence there of any number of kids who were lost, lonely, or broke:
girl wanted, natural type preferred
Drop out of time out of myth into mystery. Join me in a pastoral sojourn, euphoric wonder, a trip into Yosemite…beautiful girl, poetic soul…My social identity: male student history classics, UC Berkeley age 20.
Healthy, discreet, male, 37. Desires healthy, discreet, lusty woman looking for excitement.
A girl that is looking for a good home, in the beautiful land of NM in Santa Fe, all girls interested should please send photos of themselves. I will pay their fare out here.
Need young female to take care of and help in finding peace & truth in Nature, Sierras, free to pursue varied interests. Can be temporary or permanent escape from concrete desert. Write “Chuck” …
American age 27 would like to correspond with girl interested in God, yoga, LSD, etc. with the object of having her spend some time with him in Ecuador, S.A. with the possibility of a prolonged relationship. All expenses paid write — enclosing photos.
If any of these parents had the power of time travel, they may also have seen the interview George Harrison gave near the end of his life, where (though it should be noted that he made a generous donation to the Haight-Ashbury Free Clinic during his Beatle days) he describes his summer 1967 visit to the Haight as decidedly different from the blissfully far-out picture we usually get:
I went to Haight-Ashbury expecting it to be this brilliant place. I thought it was going to be all these groovy kind of gypsy kind of people with little shops making works of art and paintings and carvings. But instead it turned out to be just a lot of bums. […] In the end we [Harrison and Beatles press officer Derek Taylor] just said, “Let’s get out of here.”
True, in part these may have been the grousings of an exhausted rock star who was just looking for an excuse to ditch the material world and shove off to India, but there’s also a certain astuteness to Harrison’s impressions of the Haight: among other developments during this short period, drug use in the neighborhood shifted unfortunately but steadily from hallucinogenics to heroin and other hard drugs, with a concomitant shift in atmosphere from Love and Peace to something uglier. (The very existence of the Haight-Ashbury Free Clinic may in fact have been a canary in the coal mine.)
So it seems likely that Mom and Dad were onto something. But that aside, what’s most striking, and most valuable, about this collection is seeing the Haight’s residents simply going about their business in their own voices, free of adornment and self-consciousness, and certainly never dreaming that their words would show up as part of the historical record 50 years later.
¤
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from Los Angeles Review of Books http://bit.ly/2SsdTXX
Letter to the Editor: Timothy Aubry Responds to Jean-Thomas Tremblay’s Review of His “Guilty Aesthetic Pleasures”
Timothy Aubry responds to Jean-Thomas Tremblay’s review of his Guilty Aesthetic Pleasures (December 12, 2018):
WHEN I BEGAN working on Guilty Aesthetic Pleasures, a book whose central claim is that the turn to political criticism in literary studies has masked an investment in aesthetic pleasure, I was hoping it would provoke debate. But upon reading Jean-Thomas Tremblay’s review of it I had to wonder, is this what I wanted? A colleague quipped, “You’re the dog who finally caught the car!” Fair enough, and now that I’m here I may as well leap into the car, as it were, and keep the debate going. But to do so, I need to clarify what my book argues and what it doesn’t.
The history of literary criticism told by Guilty Aesthetic Pleasures, according to Tremblay, is disappointingly cyclical. The chapters all feature a “shared argumentative structure,” “a game of fort-da: he kicks the aesthetic away, announces its return, and reminds us that we’ve needed it all along. The revelation that in its evidentiary quest literary criticism counts on aesthetics is never surprising because, well, it’s called literary criticism.” Though offered as a complaint, I regard this as a compliment, since the structure is deliberate. The game of fort-da, the alternation between denying and embracing aesthetic pleasure, is a pattern that has shaped literary studies since at least the 1930s, and the structure of my book aims to mirror this pattern. Where Tremblay errs is their assertion that I am the one kicking the aesthetic away in order to make it reappear in a kind of cheap Viennese magic trick. It is, in fact, academic literary scholarship that has kicked the aesthetic away over and over, and most emphatically in the final decades of the 20th century. Indeed to suggest that aesthetics is obviously and uncontroversially a central subject of literary criticism (“because, well, it’s called literary criticism”) is to conflate the aesthetic and the literary and to ignore practically every academic argument about literature made between 1985 and 2000, and many arguments still made today.
If aesthetics is, in Tremblay’s account, simply what all literary critics do, because it’s literature, stupid, there is apparently something peculiarly retrograde in my approach to the same subject. Tremblay’s effort to summarize my book’s sense of what a critic should do, pieced together from fragments taken out of context, resembles one of F. R. Leavis’s phlegmatic pronouncements: “A literary critic’s tasks are to identify works with aesthetic value, meaning works whose perception or contemplation ‘produces satisfaction,’ and to make judgments or ‘[explain] why a given text or passage produces satisfaction, pleasure, exhilaration, and the like.’” The urge to dress me in tweeds and elbow pads here leads to a gross mischaracterization. Never do I advocate for restricting literary criticism to assigning and explaining aesthetic value; nor do I question the validity of ideology critique. An argument for critical pluralism, Guilty Aesthetic Pleasures merely encourages readers to take seriously the multitude of distinct functions literature performs, both ideological and aesthetic, and to sort through the mixed bag of motives that continue to drive literary studies today. Indeed doing so, I contend, can make for better political criticism by allowing scholars to see how their attachment to irony, ambiguity, and paradox (an inheritance from New Criticism) might cause them to privilege certain political gestures that satisfy unacknowledged aesthetic criteria and to disregard other less intellectually satisfying but potentially more effective modes of engagement.
The real problem with my book, according to Tremblay, is that it reduces all aesthetic experience to pleasure. This is a reasonable point. But when Tremblay argues that my definitions “bracket countless feelings that are not isometric with pleasure but might just as well dominate aesthetic experiences: confusion, anxiety, frustration, revulsion, sorrow,” they neglect to mention the definition I offer early on: “In the course of considering different methodologies, I should note, pleasure will become a fairly broad category of experience, one that involves masochistic moments of confusion, abjection, and self-denial.”
I go on to discuss deconstruction’s celebration of bewilderment and uncertainty and New Historicism’s attraction to “the rough, the fragmented, the myriad, the unpredictable, and the opaque.” And while Tremblay faults me for not considering “relations between pleasure and structures of domination and liberation” in black feminist criticism, I discuss exactly those relations in Saidiya Hartman’s Scenes of Subjection, whose analysis of the coercive modes of recreation forced upon African Americans during slavery and Reconstruction asserts a counter-aesthetic of the “ambiguous, the unassimilable, and the unenjoyable.” Most puzzling of all is Tremblay’s claim that “not even the Kantian sublime, with its mix of awe and horror, makes the cut.” In fact, my book argues that the transfer of power from New Criticism to deconstruction represents “a shift from an aesthetic of the beautiful to an aesthetic of the sublime” — the latter persisting as the aesthetic experience privileged by almost every approach I consider after New Criticism. The only explanation I can think of is that in seeking to cast me as the exhumed corpse of a midcentury curmudgeon, Tremblay is making the unwarranted assumption that I am lamenting the turn away from sweetness and light that I describe.
Tremblay’s larger point is that not all experiences that qualify as aesthetic should be forced into the category of pleasure, and I agree. My book focuses on pleasure primarily in order to explore the experiences that draw people to literary studies, that scholars and students find fulfilling for their own sake. This does, admittedly, entail exclusions. But Tremblay’s suggestion that focusing on pleasure makes the reading experience predictable presupposes a narrow conception of pleasure, a failure to recognize the diversity of strange, unlikely, and unconventional forms that pleasure can assume.
Guilty Aesthetic Pleasures also offers, according to Tremblay, a reductively pragmatic account of the political. They’re right: I do at times rely upon an overly restrictive definition. My goal was to initiate a thought experiment. Suppose, for heuristic purposes, we put limits on the breadth of phenomena that we consider political. What do we discover outside those limits? Might we identify values, feelings, and ideas that the political discourse we have been trained to deploy doesn’t fully capture? The aim of this exercise was not, then, to discredit political criticism but to enable new vocabularies for registering the multiple modes of response that literature elicits. Tremblay and I agree that examining any actual reading experience will reveal a snarl of aesthetic impulses and ideological pressures; I simply think it’s worth trying to articulate the specificity of the various strands without automatically translating one into the other.
Tremblay’s most caustic observation is that my chapter on Beloved treats Toni Morrison as worthy of inclusion only because she has been “escorted” there by two white men, Slavoj Žižek and Walter Benn Michaels. To be clear, the reason I decided to examine Beloved, as I state, is that it is “not merely canonical but in fact the recipient of more accolades than any other work in recent history.” Beloved is a touchstone within academia — one whose stylistic ingenuity in depicting slavery and its aftermath raises numerous questions about the relationship between aesthetics and politics. (Since I’m a proponent of aesthetic appreciation, I will also say that it is a book I happen to love.) Thus a good portion of the chapter seeks to deal both with the novel and a wide swath of academic responses to it. The chapter ends, however, with a long section devoted to Žižek and Michaels. I focus on them because their responses to Beloved exemplify the way that disavowals of aesthetic pleasure can serve covertly as its incubator, and because their prominence suggests that their work reflects broader disciplinary tendencies. But of course one reason Žižek and Michaels have achieved such prominence is that they are white men who never have to worry that their work will be unjustly coded as marginal or parochial. Thus I have concluded that it was a mistake to give them disproportionate attention in a chapter focused on a major black woman author. There’s no good defense I can offer, and so I will simply say that I’m sorry and I will try to do better in the future.
The charge Tremblay directs at my chapter on Beloved is in support of the general claim that defending aesthetic pleasure is inevitably a way of “protecting elite interests over those of the underserved or marginalized.” This, I think, is worth questioning. As my book argues, aesthetic experience is not merely a luxury enjoyed by the privileged but can also be a resource for the disempowered. Part of my motivation for embarking on this project was a consideration of how people outside academia approach literature. In studying the Amazon customer reviews of Khaled Hosseini’s The Kite Runner for an earlier project, I was surprised by how few reviewers mentioned the book’s politics — half-a-dozen out of a thousand — compared to how many commented upon the readerly pleasures it elicited. My CUNY students are no different. In their view, reading a great novel can, in many instances, be a pleasure uncomplicated by politics. Indeed I often find myself working hard to demonstrate that more things are ideologically driven than they are willing to recognize. This is not to say that they are right and academics are wrong. It just means that a commitment to aesthetic pleasure without regard to its politics is not a mark of elitism; but the view, fostered within upper-level college and graduate seminars, that even one’s private reading pleasures are shaped by ideological forces, probably is.
I want to close this already overly long response by thinking a bit more about my students, since my defense of aesthetic value is among other things an effort to justify the work I do as a teacher. I’m an English professor at Baruch College (CUNY), a business school where a large percentage of students come from immigrant and/or working-class families. Generally highly motivated, they hope that their education will lead to a remunerative career. At times I struggle to explain why I think they should take literature courses. Ideally, I am helping them improve their writing and critical thinking skills, which will certainly serve them later on, but I know they could probably learn what they need to without ever opening a novel. I also hope to make them more thoughtful about politics and more tolerant of cultural differences. But when I ask, what is the most palpable thing I offer them, I usually come up with the following: if I’m doing my job well, my students get to have absorbing aesthetic and intellectual experiences that are rewarding for their own sake, in class and elsewhere — experiences I hope they will continue to seek out for the rest of their lives.
Teaching Virginia Woolf’s Mrs. Dalloway, I asked my students to leave the class one day, walk around Manhattan for 30 minutes, pay attention to everything they observed, felt, and thought, and then write about it. Afterward, they told me they were surprised by how much seemed to happen during the interval: time stretched out, individual moments thickened, and they noticed things a block away that they had never seen before. Several commented that they generally spend too much time trying to get places and not enough time appreciating the world around them. It’s a clichéd idea, but their experience of it, apparently, wasn’t. I know my students are under all kinds of pressure from their families, from the bartending or retail jobs they take to pay tuition, and from their own desire to overcome the myriad obstacles this country is putting in their way. And I know they have more important things to do in their busy lives than indulge in seemingly useless aesthetic experiences. But I also believe they have just as much right to those experiences as more privileged students who have far less to worry about than they do.
¤
¤
Banner image by Kenneth Lu.
The post Letter to the Editor: Timothy Aubry Responds to Jean-Thomas Tremblay’s Review of His “Guilty Aesthetic Pleasures” appeared first on Los Angeles Review of Books.
from Los Angeles Review of Books http://bit.ly/2rZMHnC
Two Poems
These poems appear in the latest issue of the LARB Print Quarterly Journal: No. 20 Childhood
To receive the LARB Quarterly Journal, become a member or purchase a copy at your local bookstore.
¤
Closer
The critics say
we’ve finally begun to move
from solipsism
to futility.
It’s true
that standing still
is exhausting.
*
As a way out
of myself
(and into someone near me),
more gripping
than vampire stories,
more realistic
than falling in love,
I watch toddlers
form thoughts
and act on them.
What Follows
It’s a good thing
mind’s distributed.
“It wasn’t me,”
one says,
repeatedly.
“I haven’t died.”
*
Each tract,
thus bracketed,
waits
for what precedes,
what follows.
*
I accept defeat.
To accept defeat
is to regress,
to go back
where you came from.
This may be
the fountain of youth!
I claim it
for myself.
¤
The post Two Poems appeared first on Los Angeles Review of Books.
from Los Angeles Review of Books http://bit.ly/2St4MWG
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