Nothing But Light

reflections stutter in the picture plane
as if Vincent were still alive
dragging oils across canvas in French light
inhaling the color of things
expiring his incandescent translations
in spectacular conjugations of frequencies
setting fire to a field with crows
turning night into pinwheels, vibrations
underpinning everything in sight
nothing still but the lying frame
a thing suggesting what is seen is all there is
while what’s real is past that edge
beyond expanse and nothing but light

Jim Culleny
10/27/21

painting, Wheatfield with Crows,
by Vincent Van Gogh

by Chris Horner

De gustibus non est disputandum —Roman Maxim

How can I know what I think until I see what I say? —EM Forster

When I first began to take photography seriously, as a practitioner as well as a viewer, I naturally discussed the activity with other photographers. It wasn’t long before I noticed a paradox in the way they view what they do. On the one hand, it is widely accepted that photographic results are subjective: if you like what you do, its enough: you should ‘shoot for you’, not for anyone else’s taste, because nobody can be right or wrong about what makes a good image. On the other hand there is a tendency to search out the opinions of others, talking about improving, learning from other photographers and generally getting better at the craft. Some is about the technical business of using the camera to best effect, but much more is about the notion achieving the goal of making aesthetically  ‘better’ pictures. To this end certain photographers in the various genres (landscape, street, portrait etc) are held up as exemplars (Ansel Adams, Cartier Bresson etc). So it seems that there is the belief that judgment is entirely subjective, and yet, somehow, not. But what makes something ‘better’ when it it comes to art?

A few years ago, there was a debate in the pages of a British newspaper along the lines of ‘is Keats better than Bob Dylan?’. Mainly futile, I think, as the unanswered question was surely better at what? It’s not clear that one can usefully compare -and rank -an early 19th century lyric poet with a 20th/21st singer-songwriter, because they aren’t really doing the same thing. Another half submerged question lurking in the discussion, was really: are there standards by which we can assess the excellence or otherwise of a work of art? Is there is a qualitative difference between the novels of Tolstoy and those of Dan Brown – or should we just say, ‘if you like it, it’s as good as anything else’? Here, I think, the discussion often gets confused. So we have a debate about excellence, or worth, judged according to an uncertain standard; and conflated with that another about the canon, about ‘high’ and ‘low’ art, so called. Here you might well be tempted to dismiss it all, and just say ‘if I like it, its enough’, or maybe better: ‘there are no standards beyond ones own taste’. If that is so, we might as well just shut up about what we like or don’t like in art. A person just has the response they happen to have, and different people will have different responses. The rest is, or should be, silence. Read more »

by Tim Sommers

Suppose on your way to work every day you pass a small, shallow pond. One day as you approach it, you hear a commotion and cries of “Help!” When you get close enough, you can see a small child is drowning in the pond. You could save them. The only problem is you are wearing new shoes for a big meeting today and they will get very muddy, probably ruined, if you save the child.

Should you save the child?

It seems like you should, right? At least, morally, you should. Peter Singer who came up with that example wanted to derive a very simple principle from it.

The Singer Principle: If it is in our power to prevent something very bad from happening, without sacrificing anything morally significant, we ought, morally, to do it.

What might be significant enough to make you hesitate to save the child? What if you might lose your job over it? And what if, when you lose your job, you and your family will quickly become homeless? What if the pond were deeper and you might drown yourself trying to save the kid?

Consider this.

You’re on your way to the movies. You’ve got your ticket money and your popcorn money. Let’s say $20. You run into an old friend of yours out front collecting money to save people from some far away catastrophe. You have complete faith and trust in her, so when she tells you that every $5 will save the life of one person, you believe her. And when she tells you that the catastrophe is likely short-lived and there’s no reason to think that anyone you save will die soon after. One life? $5. Two lives? $10. Do you give her anything? Your popcorn money? The whole $20? Do you go the ATM and withdrawal all you have? Would you be willing to remortgage your house? Read more »

Sughra Raza. Starry Night, October 2021.

Digital photograph.

by Ethan Seavey

On the Métro a man reads an ancient book. He cares for it greatly and flips each page with an abundance of caution. You know that it is ancient because the incredibly thin sides of each page have been painted an antique green and the page that he is reading is yellowed but in otherwise very good condition. The cover is a nice dark gray but it is too dark to read the title from where you stand clutching a pole, your body swaying and swinging and attempting to balance inside this skittish steel carriage. You know that he cares about this book because the dark cover reflects his fingertips. It is covered with a cellophane wrapper which implies that he has bought it just an hour ago from a Bouquiniste along the Seine and that he hasn’t brought it home yet where he would throw out the plastic. But he is deep within the book, hours, days into its story. He kept the plastic to protect it in a world as dangerous for an antique book as the Métro.

This man engages with his identity in a way that you fear. He’s seen: he is a literature professor in the making, the kind that leaves behind a stable life of business and begins to teach later in life. Today he’s too young and proud and primped to stoop to that salary. He wears a Hugo Boss mask and three layers of suit and tweed and pressed cotton. His shoes are as shiny as the cellophane holding the book and he is seen loving books and he is a bit unhappy. He turns and leans his forehead against the door and looks into the lightless tunnel flashing past. This tells his fellow passengers that they should expect his departure and a wordless goodbye and more space in the car and a subtly sentimental vacancy. Read more »

by David Oates

The  soon-to-be famous ship is part-way around the world. It will eventually become only the second vessel in recorded history to achieve the complete circumnavigation – after Magellan. But the ship is poised over disaster. Somewhere in the seas off present-day Indonesia, the captain has ordered full sail and then retired to his cabin. The ship hits something – there’s an awful shudder and it stops dead in the water. A reef, probably.

There it stays for some twenty hours – “as its crew tries and tries to fathom the trouble they are in.”

The ship is the Golden Hinde, and the captain is thus, of course, Sir Francis Drake – hero to every British schoolchild for the following four hundred-some years. Four hundred years of “gloating,” as author Horatio Morpurgo puts it, as he uses this pivotal moment to put some questions to the glittering hero – to its crew – and to ourselves.

Is Drake’s triumphant return to Plymouth harbor in September 1580 – the ship loaded with treasure – really all there is of this tale? It makes for easy telling, with Drake cast as the swashbuckling old sea-dog, as if from an Errol Flynn movie of the thirties. But what has been left out of this version?  Morpurgo uses this daylong pause to ask the question: this episode of doubt ended in bitter enmity between the captain and his ship’s chaplain, who apparently preached against the great man – upon his own ship! – during these hours of peril. Why? What other stories are buried beneath the blinding treasures and easy clichés of the Golden Hinde? Read more »

by Brooks Riley

by Eric J. Weiner

He was both a street fighter and a hard-boiled romantic for whom the radical imagination was at the heart of a politics that mattered, and he was one of few great intellectuals I knew who took education seriously as a political endeavor. —Henry Giroux

On August 16, 2021, Stanley Aronowitz, Distinguished Professor of Sociology and Urban Education at the Graduate Center of City University of New York, labor organizer, educational theorist, author, and dissident public intellectual died. Essentially self-educated, he told me once that he began with Spinoza and just kept reading. He may have actually started with Kafka or Dostoevsky, but the order of things is less important than the central lesson. It’s because of him that I often find myself telling my students—who overwhelmingly come to Montclair State University for a credential or, in Aronowitz’s lexicon, to be “schooled”—that to be educated all they really need is a “library card” and intellectual curiosity.

Through his radical and relentless pursuit of knowledge and justice, Aronowitz provided a blueprint for living an intellectual life that matters to those of us who refuse to accept the status quo. He showed us through his dissident research and activism how to direct the imagination toward the utopic horizon of radical democratic freedom and economic justice. At the heart of Stanley’s intellectual project was his life-long rejection of fatalism; his revealing criticisms of the status quo always pointed to radical possibilities for social change. Aronowitz never feared freedom like so many “intellectuals” who camouflage their conservative bias within critiques overburdened by cynicism. His embrace of what Erich Fromm called “positive freedom” was amplified by his deep respect for working people and his willingness to get his hands dirty in the fight for a future that looked radically different than the past or present. Read more »

School of fish in a pond in Vahrn, South Tyrol. Photo taken last week.

by Thomas Larson

Everyone knows—or should know—how burdensome a pregnancy is on a woman. It’s especially hard now if you live in Texas where a fetal heartbeat detected at six weeks means by law the woman cannot terminate her pregnancy; she must carry it to term. The burden of having a child, whether planned for or forced, is made worse by the financial responsibility of raising that offspring, for parents and families, through childhood and adolescence, the next eighteen years. Would any man argue that such a load, for poor women in particular, is among the toughest things she’ll ever face?

But there’s another Atlas-like weight on the woman: The Texas anti-termination law refuses to address the father’s role, which I think should be restated with typographic emphasis: He Is the Father of the Fetus. While some good men do share the many duties of parenting—pregnancy, birth, and the child’s life itself—many men don’t. They flounder and flee. The stats for deadbeat dads (estranged, separated, divorced) are appalling: 30% pay nothing and 50% are forever in arrears. (As a consequence, close to 85% of custodial parents are mothers.) Is it right to force a woman to have a child when there is one in three chance that the newborn will not be supported by both parents?

I propose that we add another provision to the Texas law or the Supreme Court’s all-but-certain decision to modify or overturn Roe v. Wade. First, the Texas law should stipulate that the father of each child, in gestation or in the world, must be identified by a DNA test and by the mother. Second, the father—by court order—must pay for child-rearing over the next eighteen years. Read more »

by Pranab Bardhan

All of the articles in this series can be found here.

When Robert Solow asked me in Cambridge if I’d like to join the faculty at MIT in the other Cambridge, I was taken aback, and asked for some time to think about it. Until then I never imagined living in the US, a country I had never visited before, and what I saw in Hollywood films was not always attractive. I was planning to go back to India where my aging parents, younger siblings, and the majority of my friends were.

There was also a mental block. Growing up in the leftist environment of Bengal, I had developed a visceral distaste for the American political regime in general, its imperial hegemony and its support of oppressive regimes all over the world in the name of fighting the cold war. The ongoing Vietnam War was obviously a major irritant. At the same time I knew that in the world of new ideas, entrepreneurial innovations, and academic excellence American preeminence was undeniable. In particular MIT Economics Department was then, as now, one of the top two or three Departments in the world.

Most of my friends told me that it was silly of me not to give an immediate positive response to Solow. When I asked about how it was like living in US, most of them were not very helpful. Only Kalyan, the mathematics student, who had some experience of living there, told me that it should be fine, except that I had to be mindful about two things: (a) whenever there was a policeman around, I should keep my hands out of my pockets, otherwise I’d be shot on suspicion of hiding a gun; and (b) I should minimize visits to doctors, not just for the expense involved (particularly compared to NHS in UK), but also because American doctors were supposedly ‘knife-happy’, on the slightest pretext they’d cut out a limb or two, as fees they got from surgery were high! Read more »

by David J. Lobina

I naturally pose this question in the context of the series of posts on Language and Nationalism I have published here in the last few months. An example of a peripheral nationalist movement, the case of Catalonia will allow me to make my final message on these issues explicit enough, thus bringing the series to an end (this is the last entry; the previous 4 instalments are here: Part 1, Part 2, Part 3, and Part 4).

Catalonia, a region in the north-east of Spain, is by any definition of nationalism one might have quite clearly a nation which is furthermore in charge of a significant number of state functions all of their own – namely, it has a devolved parliament, some control over fiscal policies, a local police force, and more. What Catalonia isn’t, of course, is an independent nation-state, though in the last decade or so political events in the region suggest that a sizeable portion of Catalans would be partial to changing that. So what do the people of Catalonia want? And who are the Catalans to begin with?

The answers to these questions are partly historical, but contrary to what is usually the case in discussions such as these, we don’t actually need to go too far back in history. This is of course in keeping with the point I have made in this series of posts that the concept of nationalism and the actual reality of nation-states are rather modern phenomena, no older than 200 years (and mostly European in origin). Curiously, however, it is often the case that many standard or official histories of a given country or nation start rather far back in time, and the case of Catalonia is no exception. The monumental Història de Catalunya [The History of Catalonia], for instance, first published in 1987-89 (in 8 volumes, expanded to 10 in 2003), starts in prehistorical times. There are no doubt many who will claim that in some cases the history of a nation does start much further back than 200 years ago; some nationalists from the Basque Country, for example, another region in the north of Spain, regard Basque culture as a 1000-year phenomenon, but this is an ideological viewpoint rather than a historical one and I shall not be concerned with this type of discourse here.[i] Read more »

by Mark Harvey

Someone described the US Federal Government as a huge insurance company that has its own army. There’s real truth to that description. The vast majority of the federal budget goes to Social Security, Medicare, and Medicaid. Those entitlement programs take up about 65% of the federal budget, while the military takes up about 11% of the federal budget. The interest on the federal debt takes up another 8%, leaving only about 15% for “discretionary” spending. The money spent on the military is also considered discretionary but given our vast reach with hundreds of military bases in dozens of countries, voting to reduce the military budget much would be political suicide.

The word discretion implies both the freedom to choose and sound judgment. So discretionary spending on the federal level might lead one to infer that the spending is done with good judgment. Our government receives vast sums of money through taxes and like a good frugal household never spends more than its annual revenues, with some savings set aside for a rainy day. (Insert percussive sting made after a weak joke). Actually, the federal government spends money like your deadbeat uncle with intermittent employment, too much familiarity with how the lotto works, and numerous investments in machines that purport to have finally succeeded on the concept of perpetual motion. This is not your Shaker family living with simple furniture and within its means.

Last year the federal government took in $3.4 trillion of taxes and spent $6.6 trillion, nearly twice its revenues. A trillion dollars is a vast, almost inconceivable amount of money. And yet our government spends money in such cosmic sums that congresspeople and senators toss around the word trillion as if it’s the cost of a night’s stay in a Motel 8. Perhaps the two best quotes about casually spending and losing vast sums of money come from the late Texas oilman Nelson Bunker Hunt. When asked about his $1.7 billion losses after he tried to corner the silver market, he replied, “A billion dollars isn’t what it used to be.” Then at a congressional hearing when asked about his net worth, Hunt replied, “I don’t have the figures in my head. People who know how much they’re worth aren’t usually worth that much.” Read more »

Tanya Goel. Mechanisms 3, 2019.

Dyed paper silk, graphite pens, colour pencils and acrylic on canvas.

More here, here, and here.

by Brooks Riley