QAnon: A World of Pure Imagination

Paige K. Bradley at Artforum:

To fixate on the question of Q’s identity would be, in the conspiracist’s parlance, to chase a false flag. And a group curiously close to Q would likely say the same: the leftist Italian literary collective Wu Ming, a pseudonym translating to “anonymous” or “no name,” which was formed in 2000 as an outgrowth of Luther Blissett, a nom de plume for the same circle of coauthors. In 1999, Blissett published Q, a historical-adventure novel set during the sixteenth-century Protestant Reformation that follows an anonymous Anabaptist radical as he is pursued around Europe by Q, a Roman Catholic spy. In a December 2002 essay posted to its website, Wu Ming declared, “We are interested in ﹡mythopoesis﹡, i.e. the social process of constructing myths, by which we do not mean ‘false stories,’ we mean stories that are told and shared, re-told and manipulated, by a vast and multifarious community, stories that may give shape to some kind of ritual, some sense of continuity between what we do and what other people did in the past. A tradition.” This sounds uncannily similar to QAnon’s story for the people. Q often claims that “Future proves past,” setting its readers up to understand time as a circular process, and, in a sense, it’s not wrong. Time ceases to be progressive in Q’s realm, and on the world stage, ancient crimes and sins are eternally recurring eruptions that must be quashed anew by righteous armies in recycled costumery. Anyone with a taste for devotion and a capacity for faith is a potential conscript. Someone, somewhere, is laughing their head off at their joke, having inflamed all sides in a war for what’s true and who’s accountable for it. No need to bother with guillotines when heads are already lost. And here fall the rest of us down rabbit holes that never end, while others await the longed-for storm, not realizing they have drowned beneath its waves.

more here.

The Polymath

Dmitri Levitin at Literary Review:

Burke’s story is ultimately one of decline, from the ‘monsters of erudition’ of the 17th century to the present era of specialisation. Early modernists may feel that he is slightly cheating in his description of their period by setting up as separate disciplines subjects that were always studied together. For example, optics, astronomy and geometry were all part of ‘mathematics’, and it was effectively impossible to specialise in only one of them; in these terms, anyone who practised the subject was a polymath. This being admitted, some figures omitted here seem more worthy of inclusion than others who do appear: for example, the Flemish Simon Stevin made seminal contributions to pure and applied mathematics, as well as engineering, music theory and bookkeeping, while also practising chemistry, among many other disciplines.

more here.

The Indecency of Our Electoral Democracy

Justin E. H. Smith in his Substack Newsletter:

Among the many rules for the conduct of life that Pythagoras passed down to members of his philosophical cult, there is a peculiar prohibition that keeps coming up in late-antique testimonia: Consume no lentils. Decline all lupins. Eat not pulses. Abstain from beans. Different authors provide different rationales for this (Diogenes Laërtius says that it is because beans resemble testicles, and perhaps also the gates of Hades), but we may isolate three of them as the most common and most compelling. First, you must not eat beans because they produce within you an undesirable flatus, damaging to your health and noxious to those around you. Second, you must not eat beans for the same reason you must not eat meat — they too are ensouled, and may well harbour the particular souls of your reincarnated love ones.

If I may pause here for a moment before getting to the third reason, allow me to note that the first two are not as different from one another as you might suppose: when in the Meditations of 1641 René Descartes found it important to deny of his own soul that it is a “subtle vapour”, he was going against a very deeply ingrained strain of popular philosophy, extending back well before the golden age of classical Greece, according to which the vital principle in a body is itself a sort of flatus.

More here.

Why is life expectancy in the US lower than in other rich countries?

Max Roser in Our World in Data:

Why do Americans have a lower life expectancy than people in other rich countries, despite paying so much more for health care?

The short summary of what I will discuss below is that Americans suffer higher death rates from smoking, obesity, homicides, opioid overdoses, suicides, road accidents, and infant deaths. In addition to this, deeper poverty and less access to healthcare mean Americans at lower incomes die at a younger age than poor people in other rich countries.

More here.

The virtual premiere of Nico Muhly’s “Throughline” is testing the limits of pandemic music-making

Joshua Barone in the New York Times:

Esa-Pekka Salonen didn’t expect to make his entrance at the San Francisco Symphony with a virtual premiere.

But it’s fitting. Mr. Salonen, a conductor and composer who has branded himself an industry innovator — an eager adopter of apps and virtual reality — is taking the helm of the orchestra of the world’s tech capital. And the first thing it will play under his leadership as music director, Nico Muhly’s “Throughline,” is a bellwether in the emerging genre of works created for the constraints, and possibilities, of music-making in our moment.

Orchestra performances, in the traditional sense, are rare these days. The coronavirus pandemic forced the closure of concert halls across the United States in March; few are open now, and none are operating at anything approaching capacity. The industry has been ravaged, but scattered alternatives are taking shape: small groups outdoors, and instrumentalists playing in empty or near-empty auditoriums for live or recorded streaming online.

More here.

Wednesday Poem

dear America

I pick you up
& you are a child made of longing
clasped to my neck. Iridescent,
lovely, your inestimable tantrums,
I carry you back & forth
from the famine in your mind.

Your alphabet wraps itself
like a tourniquet
around my tongue.

Speak now, the static says.

A half-dressed woman named Truth
tells me she is a radio.

I’m going to ignore happiness
& victory.
I’m going to undo myself
with music.

I pick you up
& the naked trees lean
into the ocean where you arrived,
shaking chains & freedom
from your head.

No metaphor would pull you
out of your cage.

Light keens from the dead.
& I’m troubled
by my own blind touch.

Did the ocean release
my neck? Did the opal waves
blow our cries to shore?

You don’t feel anything
in the middle of the night.

by Rachel Eliza Griffiths
from
Split This Rock

Making Meaning: Against “relevance” in art

Garth Greenwell in Harper’s:

The word “relevant,” I was recently surprised to discover, shares an etymology with the word “relieve.” This seems obvious enough once you know it—only a few letters separate the words—but their usages diverged so long ago that I had never associated them before. Searching out etymologies is an old habit, picked up in the decades when I aspired to be a poet. Language is fossil poetry, Emerson says, and the poem the Oxford English Dictionary lays out in this case is remarkably moving. The common forebear of both “relevant” and “relieve” is the French relever, which meant, originally, to put back into an upright position, to raise again, a word that twisted through time, scattering meanings that our two modern words have apportioned between them: to ease pain or discomfort, to make stand out, to render prominent or distinct, to rise up or rebel, to rebuild, to reinvigorate, to make higher, to set free.

I looked up this history because I realized that somehow I’d lost my sense of what we mean when we talk about “relevance,” especially the relevance of art, and I wanted to know whether the problem lay in my own understanding or in some deficiency in our usage. The word is everywhere in blurbs and reviews as a quality to admire or, more than that, as a necessary condition; “irrelevant” has joined “problematic” as a term of absolute dismissal, applied not so much to books one reads and hotly debates as to books one needn’t read at all. Artists feel the anxiety of relevance during every season of fellowship applications, those rituals of supplication, when we have to make a case for ourselves in a way that feels entirely foreign, for me at least, to the real motivations of art. Why is this the right project for this moment? these applications often ask. If I had a question like that on my mind as I tried to make art, I would never write another word. This pressure has only increased in recent years. I can still remember the shudder I felt in early 2017 when, after expressing my desire to review a newly translated European novel, an editor asked me to find “a Trump angle” to make the book relevant to his magazine’s readers. There’s something demeaning about approaching art from a predetermined angle, all the more so when that angle is determined by our current president.

More here.

America Is Testing the World’s Faith

Tom Mctague in The Atlantic:

The world watched today as the president of the United States confirmed his critics’—and American allies’—fears, railing baselessly against election fraud, arguing from his perch in the White House that he had won an election whose result remained in doubt. Donald Trump’s remarks signaled a dangerous new episode in the soap opera of his presidency. Waking up to the news that control of executive power in the U.S. remains disputed—claimed by the president, despite official and media sources, to say nothing of the Joe Biden campaign, insisting any final result remains some ways off—the world has been forced to confront its faith not just in America, but in the American idea.

Before today, the American president himself could be loathed or ridiculed, the nature of American power challenged, and even the corruption of American politics debated. Yet few doubted the strength of America’s constitutional nature, the foundation upon which it built its republic. There have been disputed elections before—hanging chads and worse—but Trump’s comments, made before all the votes have been tallied nationwide and with multiple states up for grabs, signaled a break. This is no constitutional crisis, yet, but a president laying claim to an office he has not won (albeit one he might) is a crisis of its own. Speaking to a room of cheering supporters in the early hours of the morning, Trump began his address by listing favorable vote counts in an array of crucial states. His speech then took a darker turn. “This is a fraud on the American public,” he said, apparently referencing claims that he had not yet secured victory. “This is an embarrassment to our country. We were getting ready to win this election. Frankly, we did win this election.” Trump said millions of Americans had voted for him, but claimed the Democrats were trying to steal the election from them. “A very sad group of people are trying to disenfranchise that group of people, and we won’t stand for it.”

More here.

How much does a single vote matter?

Robert Wiblin in 80,000 Hours:

Could one vote — your vote — swing an entire election? Most of us abandoned this seeming fantasy not too long after we learned how elections work.

But the chances are higher than you might think. If you’re in a competitive district in a competitive election, the odds that your vote will flip a national election often fall between 1 in 1 million and 1 in 10 million.

That’s a very small probability, but it’s big compared to your chances of winning the lottery, and it’s big relative to the enormous impact governments can have on the world.

Each four years the US federal government allocates $17,500,000,000,000, so a 1 in 10 million chance of changing the outcome of a US national election gives you some degree of influence over $1.75 million, on average.

More here.

Sean Carroll’s Mindscape Podcast: Cornel West on What Democracy Is and Should Be

Sean Carroll in Preposterous Universe:

This episode is published on November 2, 2020, the day before an historic election in the United States. An election that comes amidst growing worries about the future of democratic governance, as well as explicit claims that democracy is intrinsically unfair, inefficient, or ill-suited to the modern world. What better time to take a step back and think about the foundations of democracy? Cornel West is a well-known philosopher and public intellectual who has written extensively about race and class in America. He is also deeply interested in democracy, both in theory and in practice. We talk about what makes democracy worth fighting for, the different traditions that inform it, and the kinds of engagement it demands of its citizens.

More here.

Who Will Win the U.S. Presidency? Betting Markets vs. Prediction Models

David Myers at MacMillan Learning:

But this year, the betting and prediction markets differ sharply. The betting markets see a 34 percent chance of a Trump victory, while the prediction models see but a 5 to 10 percent chance. So who should we believe?

Skeptics scoff that the poll-influenced prediction models erred in 2016. FiveThirtyEight’s final election forecast gave Donald Trump only a 28 percent chance of winning. So, was it wrong? Consider a simple prediction model that predicted a baseball player’s chance of a hit based on the player’s batting average. If a .280 hitter came to the plate and got a hit, would we discount our model? Of course not, because we understand the model’s prediction that sometimes (28% of the time, in this case), the less likely outcome will happen. (If it never does, the model errs.)

But why do the current betting markets diverge from the prediction models?

More here.

American unreality

John Gray in New Statesman:

The unmasking of the bourgeois belief in objective reality has been so fully accomplished in America that any meaningful struggle against reality has become absurd.” Anyone reading this might think it a criticism of America. The lack of a sense of reality is a dangerous weakness in any country. Before the revolutions of 1917, Tsarist Russia was ruled by a class oblivious to existential threats within its own society. An atmosphere of unreality surrounded the rise of Nazism in Germany – a deadly threat that Britain and other countries failed to perceive until it was almost too late.

For the Portuguese former diplomat Bruno Maçães, however, the decoupling of American culture from the objective world is a portent of great things to come. Finally shedding its European inheritance, America is creating a truly new world, “a new, indigenous American society, separate from modern Western civilisation, rooted in new feelings and thoughts”. The result, Maçães suggests, is that American politics has become a reality show. The country of Roosevelt and Eisenhower was one in which, however lofty the aspiration, there  was always a sense that reality could prove refractory. The new America is built on the premise that the world can be transformed by reimagining it. Liberals and wokeists, conservatives and Trumpists are at one in treating media confabulations as more real than any facts that may lie beyond them. Maçães welcomes this situation, since it shows that American history has finally begun. As he puts it at the end of this refreshingly bold and deeply thought-stirring book, “For America the age of nation-building is over. The age of world-building has begun.” The truth is America cannot help thinking of itself as a world apart. At an academic meeting in the US years ago, I smiled when a speaker declared that the cause of America’s declining power and influence was its deplorable system of campaign financing. As heads nodded sagely around the table, no one seemed to have considered the possibility that, say, the rise of China might have something to do with events originating in China.

More here.

See a stunningly surreal bookstore in China

Isis Davis-Marks in Smithsonian:

Recently opened bookstore in southwest China looks like it came straight out of one of Dutch artist M.C. Escher’s fever dreams. Located west of Chengdu in the Sichuan province, Dujiangyan Zhongshuge boasts spiraling staircases, curved archways and strategically placed mirrors; these architectural features work in tandem to create the illusion of an impossible space similar to the one depicted in Escher’s gravity-defying Relativity (1953). Architect Li Xiang, founder of Shanghai-based firm X+Living, designed the roughly 10,500-square-foot bookshop, which draws inspiration from the Unesco World Heritage–listed Dujiangyan irrigation system. Certain architectural elements resemble water, nodding to the many rivers that flow through the city. “We moved the local landscape into the indoor space,” Li tells Architectural Digest’s Elizabeth Stamp. “The project is located in Dujiangyan, which is a city with a long history of water conservancy development, so in the main area, you [can] see the construction of the dam integrated into the bookshelves.”

According to a statement, the Dujiangyan store—much like Zhongshuge’s other locations—uses a mirrored ceiling to simulate a sense of limitless openness. Book-laden, ceiling-high shelves echo the curves of nature, while glossy, black-tile flooring makes reading tables scattered across the space resemble boats moored on a lake.

More here.

Tuesday Poem

Anahata

aside from faith,
as far as you know,
you will never have another heart.
better to grow the one you were born with.
fill it with blood & love. risk.
let the strange world sneak inside.
accept all of life in your chest.
death is the end of percussion.
breathe deeply, the music
will function. listen close.
freedom thaws in your ribcage.
dance with vehemence
to feel its fast-pumping.
tempt two lips to greet your throat
& take note: your racing pulse
will laugh & kiss back. god is strong
in the clock of your desire.
every tick, my friend, divine
confirmation: you are alive. beat. yes!
you are alive

by Lenelle Moïse

Anahata

On Dream Sharing and Its Purpose

Matthew Spellberg at Cabinet Magazine:

And yet, despite this vision of dreams as paradigmatically distant, many of the world’s cultures—especially outside of the modern West—have developed elaborate protocols by which dreams can be shared. The complexity of these protocols is confirmation, in one sense, of the claim that dreams are especially private, even more so than other forms of thinking. A society must work very hard indeed to make them sharable; they must be wrestled into this life from that nighttime one. But these protocols are also somehow a rebuke to the philosophers’ skepticism: people build their own universes in dreams, except, as we’ll see, they then go to great lengths to reconstruct and combine them into a shared one while awake. This seems to raise at least two questions. Why go to such great lengths to share dreams? And what happens to a culture, like our own, that doesn’t practice dream sharing, that (a few isolated realms aside, perhaps the most important being psychoanalysis) has largely given up on it?

more here.

The Importance of Cats

Kathryn Hughes at Literary Review:

One day in 1757 the poet Christopher Smart went out to St James’s Park, started praying loudly and couldn’t stop. He was hauled off to St Luke’s Asylum, where a cascade of ecstatic verse proceeded to pour from him, in which he identified his cat companion, Jeoffry, as ‘the servant of the Living God’. According to Smart’s delighted itemising, Jeoffry served the Almighty by catching rats, keeping his front paws pernickety clean and observing the watches of the night. He was a peaceable soul too, kissing neighbouring cats ‘in kindness’ and letting a mouse escape one time in seven. But perhaps Jeoffry’s greatest accomplishment was his ability to ‘spraggle upon waggle’. Both spraggling and waggling, Smart’s magnificat suggests, are deeply pleasing to the Lord.

more here.

Democracy’s Hard Truths

by Scott F. Aikin and Robert B. Talisse

Democracy is the ideal of a self-governing society of equals. An immediate upshot of political equality is political disagreement. Among equals, no one get simply to dictate what others must believe about politics. As equal citizens, each gets to exercise their own political judgment, for better or worse.  Democracy hence is the proposition that we can live together as self-governing equals despite ongoing political disagreement.

Democracy is a dignifying proposal. But it’s no picnic. Democracy is rooted in a handful of hard truths that responsible citizens need to keep in mind.

First is that you can’t always get what you want. In fact, you often can’t avoid getting what you don’t want. Knowing the truth about what justice requires or which candidate is best does not entitle you to get your way. Nor does your ability to refute your opponents. Thus, a harder political truth: in a democracy, you can’t always get what you know is right.

That’s not all. When your side loses at the polls, it would be illegitimate for democratic government to enact your will. For electoral losers the principal consolation is that there’ll be another election, and thus another chance to get fellow citizens to see the light. This means that in the wake of defeat, those who care about justice must redouble their effort. Another hard truth: knowing what’s right in politics makes for more work, not less. Read more »