#michael w. clune

[grandhotelabyss]

Michael W. Clune writing in First Things. Which is intriguing, because Clune seems to have unrestricted access to left-lib media and doesn't need to publish in First Things. First Things is surely more cancellable even than Compact (I refer to my recent conversation with Emmalea Russo). I have no great opinion on Clune's substantive argument against drug decriminalization—an argument I first encountered in its current form when I reviewed Sam Quinones's The Least of Us for Tablet (Tablet is problematic but possibly even less cancellable than Compact)—and will only say this.

By instinct, I fear heavy-handed state interdictions of individual desire, even though I acknowledge that a broadly "conservative" approach to individual desire is probably best for most people in most cases (I include myself). A liberal or libertarian civilization works best—or only works at all—when its independent institutions can best be trusted to educate our desire well enough that the state doesn't have to manage it for us. This is why, to return to grounds more familiar to me than drug policy, it was such a huge mistake for arts education to take too sharp a turn toward popular culture or "easy pleasures." The Silent and Boomer generations who instituted this turn—including the aforementioned Sontag and Paglia—were themselves able to appreciate popular culture "safely," which is to say with tremendous sensitivity and intellect, because their own desires had been reared on high culture. It was as if someone who'd grown up sipping a mouthful or two of dry wine with dinner began to throw keggers for nine-year-olds. This is an unashamedly transcendental view. The YouTube and TikTok pop mystics' "higher self" is a better guide to desire and action than what Clune calls his "deepest self," since I take the deep self to be a reptile or protozoan (for insight here see two narratives I discussed, again, with Emmalea: Dante's Purgatorio and Chayefsky and Russell's Altered States).

I am curious about how Clune's "conservative" vision of desire in First Things correlates with "Bernhard's Way," his 2013 nonsite essay that I judged perhaps the most important piece of literary theory written in the 2010s. "What would a commitment to art that has passed through the postmodern critique of art look like?" Clune asks. His answer—that society will always instrumentalize art, usually for corrupt ends, just as postmodernism taught us; that art's purpose is therefore the enhancement of the artist's self rather than any direct service to society, this as against postmodernism's stupid quest to render art politically correct—looks, in the divine light of the First Things essay, like a redescription of art as prayer or meditation: the silencing inside the soul of the social self, of the mere ego, so that the higher self or just the higher tout court may speak in its place.

Bernhard’s belief that authorship entails a transformation of the writer derives much of its plausibility from the testimony of centuries of authors who declare themselves transformed by writing, and by the conventions that associate artistic speech with a quasi-divine apotheosis of the voice.

Or, as another writer concerned with first (and last) things prayed, "Teach us to sit still."

[jacobwren]

The basic move of the politics of exclusion is to say that a given system — of human rights, citizenship, gender, race, law, public health — gains form by excluding someone or something. Not only is the integrity of the system paradoxically dependent on what it excludes, but the excluded factor also represents a privileged perspective for understanding the workings of that system, which is typically concealed from the included. Readers of this review will likely be familiar with this logic. So, what’s wrong with it? Anker argues that, as a mode of analysis, the paradox of exclusion suffers from several basic flaws. First, it isn’t the most obvious approach to take if you’re interested in practical social justice. The point, one might feel, of critiquing exclusion and oppression is to end exclusion and oppression. Yet the experience of oppression is, from the perspective of the paradox of exclusion, “ennobling.” The “liberatory ethos of paradox,” with its endlessly reiterated “call to ‘give voice to exclusion,’” routes attention away from practical solutions to oppression and towards reaping the supposed benefits of attending to the perspective of the excluded. Throughout her book, Anker suggests that theory’s fascination with paradox draws its energy from religious and literary conceptions of paradox embedded within earlier versions of the humanities. This accounts for the otherwise curious “worship of paradox” she notes in the politics of exclusion. But if Christianity offers a framework in which it makes sense to venerate the suffering of the poor who will always be with us, the same cannot be said for a supposedly secular theory, which, if it’s really interested in social justice, should be oriented towards ending suffering. Similarly, if great literary works have the capacity to cause us to fixate on paradoxes of action, such a fixation looks like a liability when the theorist’s interest is in forms of action that might counter the effects of racism, homophobia, or exploitation. The second problem with paradox is that, by enclosing a complex social problem within a simple, endlessly portable contradiction, it obviates the need for fine-grained analysis of particular contexts, histories, and values: “[T]he logic of paradox […] short circuit[s] the types of reason-based, evaluative, comparative labor on which, it should go without saying, intellectual life depends.” Anker, an English professor trained as a lawyer, is especially sensitive to the bizarre effects of applying the paradox of exclusion to the study of the law. For example, she discusses the tendency among humanists to leap from the fact that the law sometimes excludes to the idea that the law always and constitutively excludes, “creating the illusion that an unbroken narrative connects slavery to the prison-industrial complex.” It is, of course, this rote simplicity of thinking via paradox that has made theory so attractive to and recyclable by nonacademic institutions. For Anker, this quality renders it inappropriate for academic disciplines that should prize rigorous and expert analysis. Humanists, she suggests, shouldn’t already know what we’re going to find in a given text or space before we encounter it. Yet, as she shows, the logic of paradox preformats a bewildering array of objects of humanistic inquiry. Her herculean labor in reading many hundreds of works of theory shows the extent to which humanistic research often consists of dumping the contents of a given historical period or archive into the paradox machine and standing back while it does its work. Given that literally anything can be said to be constituted by what it excludes, and that any solution to a given paradoxical situation will have its own disabling paradoxes, paradox-thinking represents the “cultivated resistance to a praxis theorizable in affirmative, serviceable, constructive terms.” Paradoxes “are geared to neutralize substantive propositions, rather than to facilitate reasoning aimed at the positing of practical game plans or normative goals.” Anker offers an amusing précis of Agamben’s body of work — in which every institution becomes, through the alchemy of paradox, a more or less serviceable replica of Auschwitz — as the reductio ad absurdum of a tendency she also finds in more circumspect (or less consistent) theorists. In analyzing theory in terms of a style of thought, and identifying this style with paradox, Anker illuminates both why theory has migrated so effectively beyond the academy and also how its self-replicating endlessness gives a startling large-scale intellectual uniformity to the pronouncements of elite institutions and right-wing conspiracists alike. Unlike some earlier versions of the dissent from theory, Anker doesn’t attack “critique” as such. Rather, it is the tendency to dumb down critique through overuse of a one-size-fits-all logic of paradox that concerns her. We should strive to loosen paradox’s hold on us and open ourselves to theoretical paradigms that enable attention to values occluded by thinking exclusively in paradox, such as “[n]oncontradiction, harmony, coherence, stability, unity, clarity, resolution, perseverance, continuity.”

Michael W. Clune, The Paradox Paradox: On Elizabeth S. Anker’s “On Paradox”

[floridakilo]

Leechs! Michael W. Clune's White Out had a second printing this year and it is mandatory junkie scholar reading if you haven't already. It's an memoir of his heroin addiction while getting his doctorate at johns hopkins in the late nineties and easily some of the best writing on addiction and memory you'll encounter.

obsessed i will have to check it out...

[illustrationzoneagency]

Virginia Mori for Harper's Magazine.

Illustration for story 'The Anatomy of Panic, A personal history of anxiety' by Michael W. Clune. To see more of her work visit: https://lnkd.in/e7jZdEbF

[longreads]

The Top 5 Longreads of the Week

This week, we’re sharing stories from Sasha Archibald, Michael W. Clune, Victoria Livingstone, Danyel Smith, and Drew Magary.

[muumuuhouse]

An anthology from Tyrant Books with new writing by Ryunosuke Akutagawa, Ann Beattie, Raegan Bird, Blake Butler, Ryan C. K. Choi, Michael W. Clune, Patty Yumi Cottrell, Annie DeWitt, Chelsea Hodson, Yuka Igarashi, Kristen Iskandrian, Mark Leidner, Tao Lin, Scott McClanahan, Sarah Manguso, David Nutt, Precious Okoyomon, Sam Pink, Nicolette Polek, Kathryn Scanlan, Christine Schutt, and Mallory Whitten. Preorderable here.

[ppwbm-blog]

Vu des U.S.A. - Critique musicale : JUGER - OU LAISSER LE MARCHÉ ÊTRE LE JUGE

Vu des U.S.A. – Critique musicale : JUGER – OU LAISSER LE MARCHÉ ÊTRE LE JUGE

Michael W. Clune soutient qu’un mantra populaire sur l’art – le jugement de chacun est égal – entrave notre capacité à imaginer un monde en dehors du marché capitaliste. Pour Michael Clune, titulaire de la chaire de sciences humaines à la Case Western Reserve University et auteur de la nouvelle monographie A Defense of Judgment, ce que l’on peut considérer comme un “jugement” devient de plus en…

[madewitharkit]

ARKit Furniture dropping app | by @ashervollmer → Get notified when the app is released. Music: TREGS - Berry

Every furniture store needs to do this with their catalog. Game changer for “trying” new furniture in your house. https://t.co/sAA5tkBJTF

— Todd Anglin (@toddanglin)

July 21, 2017

1/ I am incredibly excited about what can be done with ARKit. Why is this so cool? (Cooler than other peripherals even!?) https://t.co/ovUqGfovfu

— 🍪Steven Sinofsky ॐ (@stevesi)

July 21, 2017

INSANELY COOL… https://t.co/yR1EumGbAg

— Shawn King (@ShawnKing)

July 22, 2017

ARKit is going to revolutionize the consumer app space. This feels like the future. https://t.co/DQgYsJOUeD

— Andy McCune (@9th) September 18, 2017

the future is now https://t.co/S9xQBLyUCu

— Rhett Allain (@rjallain)

July 21, 2017

This. Is. Insane. https://t.co/KssnfXd5W8

— Nacho Carretero M. (@carreteronacho)

July 23, 2017

Finally no saturday morning visits @IKEA @IKEAUSA anymore...thanks to #arkit #ar #AugmentedReality #future https://t.co/1P96s7yAgU

— Christopher Sacken (@CSacken)

July 21, 2017

AR is going to be huuuuuuge https://t.co/HezbNiQQ0k

— Paul Stenhouse (@paulstenhouse)

July 23, 2017

Gonna be soooo useful when moving to a new house. 😍 https://t.co/cslDx0p5YR

— Nati Shochat 🤷🏼‍♂️ (@natisho)

July 21, 2017

All kinds of YES!!! https://t.co/bOcQmJT1M0

— Robert J. (@unfortunately4u)

July 21, 2017

Arkit is going to be transformational! https://t.co/RefU3EqOTg

— Gaurav agarwal (@agarwal_gaurav)

July 22, 2017

This is totally the future. https://t.co/3bo9NgUQSU

— S✨ (@lipstickatlas)

July 21, 2017

This right here is such a game changer... imagine being at home & being able to virtually place objects from an IKEA catalogue etc #ARKit https://t.co/IEh2mSffAK

— Josh Worth (@JoshWorthh)

July 22, 2017

Fantastic! https://t.co/xi3PNT1MCg

— Ian Mackenzie (@I_Mackenzie)

July 21, 2017

I finally see the value of this AR stuff. https://t.co/Hvw5WFYxe6

— Eric Lambrecht (@illcomputing)

July 21, 2017

Natural use case. Speed of innovation in this area is impressive! https://t.co/CAgNo4f1EJ

— Chris Boley (@clboley)

July 21, 2017

I'm constantly blown away with these ARKit demos. This technology is evolving so fast

— Thom Doyle (@thomdoyley)

July 22, 2017

Wow! As I said before Apple #ARKit will change online shopping again. Not just essential commodities but custom furniture! #ARKitRocks https://t.co/ZngABE0vzF

— Anshul Kapoor (@iamanshul)

July 22, 2017

Oh this is lovely! https://t.co/EWVNkuEg4T

— Vandana Guru (@vandana_guru)

July 22, 2017

Amen https://t.co/GnXAXs4Mts

— Cory Hoffart (@coryhoffart)

July 22, 2017

ARKit looking really promising... https://t.co/Mb0jpV4Tjp

— TB (@Misterbrowne)

July 22, 2017

Wow. Coming soon to an iPhone near you https://t.co/XiKEz1J9p7

— Hadi Partovi (@hadip)

July 22, 2017

Ok I am super into this. https://t.co/FjjmUd7x0n

— Lindsay Goldner (@linzlovesyou)

July 22, 2017

More magic https://t.co/Vde0TxzBvC

— Oscar R (@oscruv)

July 22, 2017

I love it!! https://t.co/h1xa2j1rJG

— jffornieles (@jffornieles)

July 22, 2017

Exciting to see what creatives can do with the @madewithARKit pic.twitter.com/C2BNeNbGYi #AR #tech

— Namroud Gorguis (@namroud)

July 22, 2017

ARkit is going to be massive https://t.co/TPLkRerNYy

— Arthur Clune (@fatrat)

July 22, 2017

Bloody brilliant. https://t.co/282nOqIwnr

— Paul Neuteboom (@paulneuteboom)

July 22, 2017

I'm amazed! https://t.co/vVyse5PvV4

— λ • Geovani de Souza (@geovanisouza92)

July 21, 2017

I love the future already https://t.co/MiY8qXobjU

— Belén Curcio (@okbel)

July 22, 2017

Hard to predict what App it'll be, but there's going to be something that takes iPhone owners by storm after this goes live. https://t.co/deSGBO2bFF

— David Hodge (@DavidHodge)

July 22, 2017

Can't say enuf how much I want this w/new apt this month... The amount of time mocking in Keynote that could be saved by this. GOOD LORD https://t.co/Fl3Gu0uERP

— Robbie Heeger (@RobbieHeeger)

July 22, 2017

If AR doesn't revolution commerce, I don't know what will. https://t.co/CZ2KUEpZ9l

— Benoît Quimper (@bquimper)

July 22, 2017

Wow. 😳😳 https://t.co/LTb3cgyPdH

— Jason Garcia (@SirJRG)

July 22, 2017

Awesome! With ARKit, Apple has again positioned iOS as a premier platform — a simpler integration for dev & ready consumption for users. https://t.co/mcscfheU3R

— Amit Gawande (@_am1t)

July 22, 2017

Ah... so this is like Pokémon Go but useful... ;) https://t.co/TllMUehln5

— Eric Koester (@erickoester)

July 22, 2017

This is awesome https://t.co/NNJm3UOAv3

— Sherry Carrero (@slycreations)

July 21, 2017

so much good stuff popping up on ARKit, and instant distribution on 100s of millions of iphones https://t.co/zvy4bx9VOD

— Ernest Oppetit (@ErnOpp)

July 22, 2017

This is getting ridiculous! https://t.co/eeNGbGMVyr

— Yakup Kalin (@YakupKalin)

July 22, 2017

Excitement over #ARKit demos like this reflects the power of Apple. Furniture in #AR has been around for years, but nobody has Apple's reach https://t.co/eQRwTarUxq

— Michael Thompson (@neuramichael)

July 22, 2017

So impressive https://t.co/bB8ORmpDPU

— Renan Liberato (@RenanLibegato)

July 22, 2017

This is incredible. Can't wait to start using it. https://t.co/rKfIwXI3JW

— Ben Moore (@BenMoore82)

July 23, 2017

Wow! Slick work!! https://t.co/huwWvq96au

— Rizwan Rehmat (@dohagames)

July 24, 2017

Game changing. https://t.co/e2CofRxV6U

— Marc Chung (@heisenthought)

July 29, 2017

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[detoxnearme]

How Does Heroin Work

Contents

Heroin. quitting heroin means

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Drug for its drug

Who faces sentencing for

What is black tar heroin? Learn how to recognize black tar heroin and what the health risks in using black tar heroin.

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What Does Heroin Look Like Pictures Contents Contents recreational drug Faces sentencing for selling fentanyl-laced Sentencing for selling Contents from the uterine lining. this Withdrawal combinations. feb 02 combinations has Heroin often research shows There are brown, sun-cracked fields in every direction marked by clumps of small, rocky emanations that pop like moles in a fairground “wack-a-mole” game. A waif (from How To Sell Heroin Contents Recreational drug for its drug for its That combinations has been much induce Has been regularly White Out: The Secret Life of Heroin [Michael W. Clune] on Amazon.com. *FREE* shipping on qualifying offers. Clune’s gripping account of life inside the heroin … Aug 03, 2017  · A Syracuse man who faces sentencing for selling fentanyl-laced

The above blog post How Does Heroin Work was first seen on https://detoxnear.me

from DetoxNear.me - Feed https://www.detoxnear.me/how-does-heroin-work-3/

[charoshane]

My Favorite Books of 2016

I read well over 100 books this year which I say not to brag (although, obviously, to brag a little) but to provide some perspective about the size of my field for consideration and to explain why there are so many titles. Most of these weren’t published in 2016 so you’re not going to see the same 10-15 that kept showing up on all the usual year-end lists. You’re welcome! Here we go:

THE UNFORGETTABLE 

Zippermouth by Laurie Weeks — Sweet, funny, propulsive. I adored it. 

Dark Pool Party by Hannah Black — No one’s brain works like hers.

Eros The Bittersweet by Anne Carson — Also read this year, and recommended, of course: Antigonick, Decreation, and Float, which I reviewed for The New Republic

Straw Dogs by John Gray — Invigorating and smart, albeit peppered with extreme declarations supported by little to no evidence. You have to be willing to put up with a voice that assumes complete authority without always earning it, i.e., a man’s. 

White Out by Michael W. Clune— If you were going to read only one book on this entire list, I’d probably urge you to make it this one. And I know, I know, he is a man, and I just took that dig at men! But truly, this is a masterpiece, and you know it has to be exceptional to override my reverse sexism. Hilarious, vivid, insightful, insert additional superlative here and additional superlative here and then just go read it.  (Gamelife, his subsequent book, is also very good, but it’s hard to write something perfect twice in a row. That’s more Anne Carson’s domain.)

10:04 by Ben Lerner — What can I say? Ben Lerner is a genius, this book is genius, 2016 was the year I could not deny that men actually wrote some things worth reading. I continue to almost shudder in admiration every time I think about this title. 

The Hatred of Poetry by Ben Lerner — I thought about its ideas a lot, and referenced it in the Float review linked above. Pick 10:04 over this if you’re only doing one, maybe, or start with this one instead because it’s short and direct (?)

The Gift by Barbara Browning — God bless @ruthcurry for giving me this book on election night. It was the only thing I could read over the following two days: gentle, loving, wise. I am so grateful to have had this book when I did. It has shades of 10:04, which I say just to compliment them both, not to imply it’s derivative. It doesn’t come out until spring of this year, but please give yourself the gift of reading it ASAP. (See what I did there?) 

Jesus’ Son by Denis Johnson — I put off reading this for years—can you guess why—but once I started I could not stop. I usually went back and reread the stories that had come before, before I progressed to the next. Good albums are like that too; too arresting for you to get very far into them right away, because you keep replaying the opening track(s).

All The Lives I Want by Alana Massey — It’s no secret that I’m friends with this little dynamo and I understand why you'd be liberally salting this recommendation as a result. But I’d never recommend a book I didn’t think was worth reading. Life is too short to pretend bad things are good, even if the maker of that bad thing is my friend. I just can’t do it! So believe me when I say that although I already respected Alana’s daunting ability to turn a phrase, I was so impressed with this book. It’s relentlessly intelligent, and mischievous, full of verve and focus and conviction. It made me want to write, which is the highest compliment I can give. 

Loving Sabotage by Amélie Nothomb — I’d never heard of Amélie Nothomb until I came across this recommendation from @magicmolly but now I think I’ve read everything of her’s that’s available in English. (Loving Sabotage is the best but there are striking passages in all the others, too.)

The Vet’s Daughter and Our Spoons Came From Woolworth’s by Barbara Comyns —  They’re both surprising horror stories told by unsentimental but vulnerable female narrators. I loved them very much. 

The Last Unicorn by Peter S. Beagle — I picked this up a few times as a kid but I couldn’t find any sex in it, so I didn't bother giving it a proper read. Now that I have, I can say it is exceptional: delicate, lyrical, original. I cried, and then I cried again. I know it’s about a unicorn, but fuck you.  

Other books I recommend without reservation:

Private Citizens by Tony Tulathimutte 

The Man in the Ceiling by Jules Feiffer (I cried!)

The Millstone by Margaret Drabble (Truly the year I fell in love with British female novelists.)

Drawing Blood by Molly Crabapple (generous, beautiful, singular)

Problems by Jade Sharma

D.V. by Diana Vreeland

I Have Devoted My Life to the Clitoris by Elizabeth Hall

Little Labors by Rivka Galchen (Good enough to inspire me to read her first novel, Atmospheric Disturbances, which I’m glad to have read but perhaps should have been a short story instead of an entire book.)

Sleepless Nights by Elizabeth Hardwick (When I’m reading Hardwick, I am amazed by her, but her writing also tends to leave my brain immediately, like it’s a dissipating smoke.)

Orgasmic Bodies by Hannah Frith (Academic but not too dense, and packed with important ideas)

Intimacies by Adam Phillips and Leo Bernsani (another academic one, but all about anal sex. [Ok, not only anal.]) 

The Lost Daughter by (duh!) Elena Ferrante, whom I wrote about a little here, much to a certain Freddie DB’s disapproval  

Sempre Susan by Sigrid Nunez

Miss Pettigrew Lives For a Day by Winifred Watson (Recommended to me ages ago by Mallory Ortberg so you know it’s good.)

The Prime of Miss Jean Brodie by Muriel Spark (Related: I read Memento Mori and sort of hated it!) 

The Selfishness of Others by Kristen Dombek 

The Situation and the Story by Vivian Gornick (+ The End of the Novel of Love)

Investing Sex: Surrealist Discussions (I dunno, it’s kind of stupid because it’s mostly a bunch of young straight guys sitting around talking about women’s orgasms like the complete jackasses they are, but it’s also fun and reminded me of things I forget too often, like how fundamentally boring sex can be.)

You Too Can Have a Body Like Mine by Alexandra Kleeman (bizarre, assured, unsettling. I was dying to talk about it with someone during and after I read it but that loneliness is what I get for reading everything at the wrong time. And for having no friends.) 

The Vegetarian by Han Kang (HAUNTING. So haunting.)

The Bitch in the House (It’s rare for anthologies to be good, I think, because they invite such a compromise on quality of writing . But this one is!)

The Diary of a Teenage Girl by Phoebe Gloeckner (Also, A Girl’s Life and Other Stories, which is a rehash of a lot of what’s in Diary but I liked it anyway. You have to be prepared for true teenage diary writing though. Gloeckner has stresses it’s fiction but she also includes excerpts at the end from her real diary as a kid, and they appear almost verbatim in the book. It’s self-involved and repetitive and tedious in places—like diaries are supposed to be!—but I still found it worthwhile. )

Diary of an Emotional Idiot by Maggie Estep (And/or Soft Maniacs by the same.)

And obviously I loved everything @tigerbeepress released this year. I have a particular soft spot for my collaboration with @merrittk, and for Bad Drawings, which turned out more perfect than I could have imagined. 

[grandhotelabyss]

The reigning queen of American letters and MSNBC-brained lib extraordinaire humanistically reproves one of the most notable of American letters’ ultra-right-wing upstarts, a hyper-racist celebrant of his reactionary namesake and the anti-humanist reducto-materialism for which he tentacularly stood. “Quite a meeting of the minds here,” someone quipped in the quote Tweets. 

There’s less ideological distance between them than appears from their Twitter feeds, hers almost comically aligned with official ideology, his just as strenuous a performance of almost psychotic distance from it or any other liberal norm. But as I’ve observed already, she encrypts in her fiction a worldview at odds with her political rhetoric, at least based on the handful of works I’ve read out of her massive oeuvre, and at least as one possible or plausible view of life. And she admires the first Lovecraft, the real Lovecraft, having written a long introduction to one of the reprint collections. As for who is the superior author between JCO and 0HP, there’s no question. He’s a one-note Nancy and a shallow pasticheur, whereas she at her best—for example, in We Were the Mulvaneys—can channel the very wind and rain. 

Who’s right in the quarrel above? They may both be right; there may be no contradiction between their two prophecies. Some will be replaced by the machine—they were, she says elsewhere in the feed, machines already (not a terribly liberal sentiment, by the way)—and some will thrive in a more restricted artisanal market. But her reference to “home cooking” is the real clue in the labyrinth.

I’m seeing too much despair over the AI question from writers and artists. It’s too late to complain about this; the time to complain was when Hegel subjected art to a theory of historical progress which guaranteed everybody’s eventual obsolescence. (I use “Hegel” as a convenient shorthand for a broad shift toward historicism in western aesthetics; one could use other names, from Vico to Darwin, and one could read Hegel in other ways.) The robots have come to finish that job, not to start anything new. I suggest another way to look at the question. “I side with humanity” may fail as rhetoric—too sentimental, too science fictional. So I put the assertion more selfishly: I side with myself. 

We will be enjoined to surrender to the robots for both left-wing and right-wing reasons: as a xenophilic openness to the technological Other, as a democratic extension of art-making to everyone, and as a bow to the market’s demand for maximal efficiency and low labor costs in all things. All sound Hegelian dissolutions of art into the social matrix in its ethical, political, and economic guises. So why go on making art? Well, why did we start in the first place? Why do I cook when I could just order take-out? 

I leave you with this hint, from an essay I first shared to this very website about a decade ago. It’s not obviously related to the matter in hand, but its main claim—that the artist’s own satisfaction and self-transfiguration in the artistic process is an intrinsic good needing no worldly defense—settles the whole question:

Bernhard agrees with critics like Bourdieu in denouncing art’s covert parasitism on the networks of social status. But he disagrees about what to do. Bourdieu wants to jettison the ideal of the aesthetic as disinterested attention to form. This might annihilate some forms of snobbery. But it is hard to imagine that settling accounts with Kant will do much to change the social world’s basic nature as a hierarchy founded on fear and pain.  Bernhard, with a deep understanding of how art has been infected by the social relations described by postmodern critics, reacts more rationally. Don’t get rid of art; get rid of social relations.

The satisfaction of the highest art for Bernhard thus defines a human space both replete with value and outside society. In this it does not look so different from the Kantian ideal of aesthetic experience. But there is a crucial difference. For Bernhard, accepting the truth of the postmodern critique means accepting that every relation between an artwork and an audience becomes enmeshed in status relations. Bernhard faces the consequences squarely. The “real satisfaction” of art can never be achieved by the audience of a work, but only and solely by its creator.

—Michael W. Clune, “Bernhard’s Way”

[sleeper177]

Michael Clune and Sleep Til Noon live on stage right now at Freedom Fest 18!!! (at Ebey Island/W) https://www.instagram.com/p/BnO67tuFxAG/?utm_source=ig_tumblr_share&igshid=1rco3h2qlufgm

[basseyblog]

   5th December, 2000 Dominion Theatre, London   

THE ROYAL VARIETY PERFORMANCE

Held in the presence of HIS ROYAL HIGHNESS THE PRINCE OF WALES 

Presented by: BBC Television Entertainment

Musical Director & Supervisor: Michael Reed

  HEY PACHUCO – MARTIN CREWES & THE RVP DANCERS JANE McDONALD BEN ELTON KYLIE MINOGUE BLAST! JANE HORROCKS MARTIN CLUNES MARK WILLIAMS CIRQUE DU SOLEIL TIM VINE RONAN KEATING THE KING & I ELAINE PAIGE NOTRE DAME DE PARIS RONNIE CORBETT DAME SHIRLEY BASSEY AFRICAN FOOTPRINT RICHARD STILGOE & PETER SKELLERN STAR FOR A NIGHT – CLESTINE WALCOTT-GORDON BRYN TERFEL DOMINIC HOLLAND LIONEL RICHIE THE BEAUTIFUL GAME WESTLIFE

Produced & Directed by: Kevin Bishop

Stage Director & Choreographer: Kim Gavin

  Shirley Bassey at the Royal Variety Performance At the Dominion Theatre, London, Dec 5 2000

Dame Shirley Bassey joined a host of celebrities at the Royal Variety Performance 2000. The show was performed in the presence of Prince Charles and other personalities. No stranger to the event, Shirley Bassey has won ovations at this celebrated royal event for forty years.

Dame Shirley was introduced by British comedian Ronnie Corbett “Ladies and Gentlemen, may I introduce to you, a dear friend, recently honoured by the Queen, and now making her first appearance since, the fabulously exciting, tingling making, Shirley Bassey!…”

Shirley opened with Light My Fire with 6 male backing dancers, she then sang As I Love You and ended with I Am What I Am. She was hailed as one of the evening’s major successes, confirming her status as the greatest pop diva of the last century, and this one so far!

The voice, the figure and, as far as I could see, the face have resisted the march of time. The applause that followed her three-song spot, climaxing with a breathtaking performance of I Am What I Am, must have been heard halfway up Tottenham Court Road!

In the event programme there was an advertisement from ‘Frontier Batley,’ formerly known as the famous ‘Batley Variety Club,’ wishing everyone well and going on to say “… particularly all the stars who have appeared here over the past 30 years and of course congratulations Dame Shirley Bassey The Undisputed Goddess Of Entertainment”.

The performance was transmitted on BBC1 on Sunday 17 December 2000, although sadly this was shortened and Shirley’s rendition of As I Love You was cut from the final transmission.

Divas From BBC News, Wed 6 Dec 2000

Pop diva Dame Shirley Bassey had a kiss for Prince Charles as he met the singer after this year’s Royal Variety Performance.

The prince also met fellow singer Kylie Minogue after the show, which featured a line up including boy band Westlife, singers Ronan Keating and Lionel Ritchie and comedians Martin Clunes and Rowan Atkinson.

Dame Shirley, dressed in a black sequined halter-neck dress, kissed the prince on both cheeks and told him she was sorry she did not have a flower to give him.

She said she first got to know Prince Charles 14 years ago when she performed in a show for the Prince’s Trust. “He is a very genuine and gentle man. I have been to a few of his parties and dinners at Highgrove,” she said.

First held for George V in 1912, the Royal Variety Performance has become an entertainment institution, raising money for retired performers across the UK. The Prince was greeted as he arrived at the theatre by Laurie Mansfield, the life president of the Entertainment Artistes Benevolent Fund, and also met with BBC director general Greg Dyke and Alan Yentob, the corporation’s director of drama, entertainment and children’s programming.

Smiling Through The Tears From The Daily Telegraph, Dec 20 2000

Dame Shirley Bassey smiled her way through Sunday’s Royal Variety Performance, but in fact things were far from well. “She was very upset that her dress didn’t look like anything special,” says her dressmaker, Doug Darnell.

“Her gown should have made her look like a sphere of light, but, because of the way the BBC shot it, it didn’t. They then missed out one of her songs. In America, this would never have happened.” A BBC spokesman said: ‘Dame Shirley was the highlight of the show.

After the show:

Thanks to Bigspender for the following three pictures of Dame Shirley Bassey taken after the performance when she autographed programmes and tickets for fans. She explained that she was having a few problems signing them because of the recent operation on her hand.

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DSB at the 2000 Royal Variety Performance    5th December, 2000 Dominion Theatre, London    THE ROYAL VARIETY PERFORMANCE Held in the presence of HIS ROYAL HIGHNESS…

[hog-babe]

When an essay you need to read for class not only randomly mentions your favourite book but also hits the nail on the head (from Michael W. Clune’s Make It Vanish)

[baroquespiral]

This is what the people behind the craze for 3D movies and games will never understand.  To make a 2D image 3D is to kill half of it.  It is to murder its better half, the half that accounts for all its mystery and most of its power.  People are not clamouring for more 3D.  Not really.  Not if you listen to them.  If you listen to them, they'll tell you they get all the 3D they can handle in the grocery store and the cubicle.  They can admire the many sides of their staplers all they want.  They can lift and squeeze tomatoes until the store closes.  Frankly they're sick of it.  That's why they watch so much TV. I'm not against 3D.  3D has its place.  It's useful when you're driving, for instance.  3D is comforting.  It's what lets you sink into a couch.  It's what lets you get your hand all the way around a doorknob.  3D is easy.  3D comes up to you with a smile and an outstretched hand.  3D is dry land. 2D is the ocean.

I read this in Gamelife today and later for unrelated reasons realized the entire figure of "horizontality" in left politics is a figure of a utopian 2D world

[detoxnearme]

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