Stefany Anne Golberg at The New England Review:

In the days before personal computers, when Xeroxing books was a punishable crime, I hand-typed the entirety of The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade for my personal collection, as such a book was not generally available in 1980s Las Vegas. I’d borrowed a copy from the UNLV library. Marat/Sade is a play written by the German postwar playwright Peter Weiss. Weiss incorporates a play within the play, one written by de Sade, to be performed by his fellow inmates at the Charenton asylum. So Weiss’s actors play lunatics staging de Sade’s play, and also act as various historical figures with whom de Sade has philosophical dialogues.

What was the appeal, for a fifteen-year-old girl, of a story about a nihilistic and lecherous Revolution-era Frenchman—portrayed by a postwar German avant-gardist—who writes and directs a play in an insane asylum? In Marat/Sade, an actress plays a somnambulist who plays the part of Charlotte Corday, assassin of the Jacobin leader Jean-Paul Marat, as he lay in the bathtub. Marat is played by a paranoid schizophrenic. The radical priest Jacques Roux, who stabbed himself to death in prison, is played by an inmate in a straightjacket. These characters felt very true to me, their concerns urgent ones. They screamed for freedom, and for justice, and then broke into ecstatic singing, and laughed until the asylum staff beat them back into the corners.

more here.

Mark Jarman at Hudson Review:

The most curious event in George Herbert’s short life, after its abrupt change of direction, may be his marriage in 1629 to Jane Danvers, a cousin of his stepfather. Her father, Charles Danvers, had, as Drury notes, “a particular fondness for George Herbert,” and the marriage itself seems to have been urged on Jane and George by Danvers. It seems to have been little more than the sanctification of a platonic relationship. As a teenager Herbert had told his mother he would dedicate his life to chastity. In a chapter entitled “The Parson’s State of Life,” in The Country Parson, he claims explicitly “virginity is a higher state than matrimony,” and therefore, the parson is “rather unmarried than married.” This seems to be a Pauline view, but even St. Paul admitted that it was better to marry than to burn. In Herbert’s case, though, not being married presented an impediment to his success as a parson. He notes in the same chapter that, for an unmarried country parson, ministering to women alone, without an audience, can lead to all kinds of rumor and gossip. So, in these circumstances, he concludes, it is probably better for a parson to marry, as long as “the choice of his wife [is] made rather by his ear than by his eye” and that he choose her for “humble and liberal disposition . . . before beauty, riches, or honour.” Jane Danvers and George Herbert were married for only four years, until he died, during which time there were no children. The role he expected of her is clearly laid out in The Country Parson. Six years after Herbert died, Jane Danvers remarried, had a daughter with her second husband, outlived him, too, and died some fifteen years after Herbert’s death. I find it notable that she had a child with her second husband. Though she grieved for her first husband for six years before marrying again, it may have been a welcome change to enter into a conjugal relationship with a willing man.

more here.

Dan Piepenbring at Paris Review:

The English translation of Roberto Bolaño’s excellent final novella, A Little Lumpen Novelita, is out this month. The book opens with an epigraph by Antonin Artaud, who was born today in 1896: “All writing is garbage. People who come out of nowhere to try to put into words any part of what goes on in their minds are pigs.”

Since I read it about a month ago, I’ve thought of this quotation every day, often as I’m writing—you can imagine the rat-a-tat of my keyboard punctuated with an occasional “All writing is garbage.” It’s a bracing sentiment, taunting and misanthropic, and a truer one than most of us would care to admit. At the moment, it flies in the face of our glad-handing literary culture, where every book is a good book and every writer in every MFA program partakes of a dignified struggle with Art.

Here’s how that quotation, which comes from Artaud’s The Nerve Meter (1925), goes on:

The whole literary scene is a pigpen, especially today. All those who have points of reference in their minds, I mean on a certain side of their heads, in well-localized areas of their brains, all those who are masters of their language, all those for whom words have meanings, all those for whom there exists higher levels of the soul and currents of thought, those who represent the spirit of the times, and who have named these currents of thought, I am thinking of their meticulous industry and of that mechanical creaking which their minds give off in all directions—are pigs.

more here.

Cobble, Gordon and Henry in Salon:

Texts have helped to spread feminist ideas since the beginning of the U.S. women’s movement — from suffragist newspapers in the nineteenth century to mimeographed manifestos of the late 1960s to bestselling feminist books in all eras. In the late 1960s, it was not uncommon for feminist groups to write political statements, or manifestos, outlining their beliefs and goals. Such documents tended to come out of consciousness- raising and political groups, produced by a collective of women rather than just one author. Documents of this type, such as the “Redstockings Manifesto” (1969), were widely circulated in pamphlet form and often republished in feminist journals and anthologies, some of which became bestsellers, such as the collection “Sisterhood Is Powerful” (1970). Likewise, the emergence of a new feminist sensibility in the post-1990 era can be connected to texts, whether Rebecca Walker’s 1992 Ms. essay or feminist books preceding it, such as Susan Faludi’s “Backlash: The Undeclared War Against American Women” (1991) and Naomi Wolf’s “The Beauty Myth: How Images of Beauty Are Used Against Women” (1991). Texts were especially important in giving a presence to this new feminism, since it did not rely on the gathering of women in activist groups. If the women’s liberation movement of the late 1960s and 1970s was characterized by the rapid formation of groups and publication of their manifestos, the feminism that emerged in the mid-1990s developed primarily through the publication of individually authored texts. Texts named the generation, texts energized it, and reading texts became a way of participating in the contemporary movement.

…Perhaps one of the biggest changes in popular culture over the last two decades has been the emergence of women (and often feminist) comedians into the previously all-male world of stand-up comedy and comedy writing. Women like writer-actress-producer Tina Fey used humor to challenge sexism and misogyny and to astutely reflect on what passed for gender equality in the twenty-first century. On the inaugural episode of Fey’s critically acclaimed series “30 Rock” (2006–13), which she wrote, her alter ego, Liz Lemon, is described as “a third- wave feminist,” and over the course of the series Fey humorously poked fun at modern womanhood and the media-hyped crisis over “having it all.” Other feminist comedians during this period included Mindy Kaling, Sarah Silverman, Wanda Sykes, and Margaret Cho, who famously summed up her generation’s entitlement: “If you say you’re not a feminist you’re almost denying your own existence. To be a feminist is to be alive.”

More here.

Scott Atran in The Guardian:

In a speech on Wednesday, President Obama said: “Whatever these murderers think they will achieve by murdering innocents like Steven [Sotloff], they have already failed.”

Not so, says the evidence. Publicity, Islamic State (Isis) knows, is the oxygen of terrorism. And publicity it has received in spades with the beheadings of two American journalists. So an organisation that hardly anyone knew existed only a few months ago is now the world’s, and particularly the west’s, premier political and public concern, eclipsing Iran’s nuclear programme and Russia’s actions in Ukraine.

The aim of Isis’s strikingly gruesome spectacle is to terrorise and fascinate public sentiment. Especially in the media-driven political theatre of western liberal democracies, public fury reliably leads to precipitate political reaction. Like the kind of heedless, scatter-gun approach pursued by America and Britain that transformed al-Qaida from a small band of fairly well-educated violent extremists into a youthful social movement that appeals to many thousands of disaffected Muslim immigrants in the western diaspora, and many more millions who are economically and politically frustrated back home.

Unlike al-Qaida, though, from which Isis was expelled earlier this year, Isis tolerates no compromise with other interpretations of Islam, much less with Islam’s duty to rule the world. In its view, America and Britain are too weak in the conviction of their ideas and ideals to ultimately matter. For the devoted actor, rightness of cause will always win against apparent material advantage as long as the cause has the minimal material means to endure.

Isis’s violence is far from being nihilistic – a charge usually levelled by those who are wishfully blind to the attraction of their foes. The moral worldview of the devoted actor is dominated by what Edmund Burke referred to as “the sublime”: a need for the “delightful terror” of a sense of power, destiny, a giving over to the ineffable and unknown.

More here.

Cassie Rodenberg in Scientific American:

Based on ethnographic fieldwork conducted while residing next to a crack house in El Barrio, New York, for almost five years, this article analyses how the social and economic marginalization of second- and third-generation Puerto Rican immigrants in the inner city has polarized violence and sexuality against women and children, both within the family and on the street. Traditional working-class patriarchy has been thrown into crisis by the restructuring of the global economy and the expansion of women’s rights. Unable to replicate the rural-based models of masculinity and family structure of their grandfathers’ generation, a growing cohort of marginalized men in the de-industrialized urban economy takes refuge in the drug economy and celebrates a misogynist, predatory street culture that normalizes gang rape, sexual conquest, and paternal abandonment. Marginalized men lash out against the women and children they can no longer support economically nor control patriarchally.¹

John’s girl, Diane, jumps into cars. She sits on a bucket seat ripped from a SUV. There, in its place left on the side of the road, she waits for men to drive by, stare, comment, gesture. Men like the punk rocker look, so she rips her tights, more than the day typically does, for show. She’s had a good run of not being raped, so she figures she’ll be fine. John sits on cardboard next to the bucket seat anticipating her return. Sometimes he get impatient and leaves to get food. As if staying would do anything. Her money buys them the crack and heroin, the rented room. These things, this discontent, come outs when she smokes crack. It becomes unreal that you do everything. But it is expected. It is the way things go.

More here.

Hello,

The editors of 3QD have made their decision. The twenty semifinalists have been winnowed down to six, and three wildcard entries added. Thanks again to all the participants. Details of the prize can be found here.

On the right is a “trophy” logo that our finalists may choose to display on their own blogs.

So, here it is, the final list that I am sending to Frans B. M. de Waal, who will select the 1st, 2nd, and 3rd prize winners from these: (in alphabetical order by blog name here)

1. 3 Quarks Daily: The Dictionary is not Literature
2. Curious Meerkat: Eating Insects
3. Eruptions: So, You Think Yellowstone Is About to Erupt
4. Genotopia: On city life, the history of science, and the genetics of race
5. Preposterous Universe: Why the Many-Worlds Formulation of Quantum Mechanics Is Probably Correct
6. Science Sushi: Did Allergies Evolve To Save Your Life?
7. Slate: Promiscuity Is Pragmatic
8. The Loom: The Wisdom of (Little) Crowds
9. The Philosopher's Beard: Love's Labours Lost: How Robots Will Transform Human Intimacy

We'll announce the three winners on September 22, 2014.

Good luck!

Abbas

P.S. The editors of 3QD will not be making any comments on our deliberations, or the process by which we made our decision, other than to simply say that we picked what we thought were the best six posts out of the semifinalists, and added three others which we also liked.

Eric Gibson in The New Criterion:

The Whitney Museum of American Art has mounted a Jeff Koons retrospective as the swansong in its uptown Breuer building before reopening in its new, Renzo Piano–designed space in Chelsea next spring.1Besides his stratospheric auction prices, Koons is famous for industrially produced pop imagery such as inflatable hearts and balloon dogs, all of it turned out on a large, sometimes gigantic scale in cheerful, candy-box colors and polished to a high, reflective sheen. According to the Whitney, it is his biggest exhibition ever, and they’ve certainly done him proud. Organized by the Whitney curator Scott Rothkopf, it displays some 150 works dating from the late 1970s to just last year, taking up more than three floors of gallery space.

If the scenario sounds familiar, it is. In 1980, prior to shutting down for a four-year renovation and expansion, the Museum of Modern Art gave over its entire building to a Picasso retrospective. The point was to go out with a bang—to affirm Picasso’s position as the most important artist of his time. The Whitney wants to go out with a bang in the same way, and has nominated Koons as its Picasso.

Why not? Koons burst on the scene in the 1980s, quickly taking his place alongside the other young art stars of the time. Yet among them, he alone has survived and thrived in the decades since.

More here.

Madhuvanthi Kannan in Scientific American:

In a recent study by psychologists Colin Camerer and Tetsuro Matsuzawa, chimps and humans played a strategy game – and unexpectedly, the chimps outplayed the humans.

Chimps are a scientist’s favorite model to understand human brain and behavior. Chimp and human DNAs overlap by a whopping 99 percent, which makes us closer to chimps than horses to zebras. Yet at some point, we evolved differently. Our behavior and personalities, molded to some extent by our distinct societies, are strikingly different from that of our fellow primates. Chimps are aggressive and status-hungry within their hierarchical societies, knit around a dominant alpha male. We are, perhaps, a little less so. So the question arises whether competitive behavior is hard-wired in them.

In the present study, chimp pairs or human pairs contested in a two-player video game. Each player simply had to choose between left and right squares on a touch-screen panel, while being blind to their rival’s choice. Player A, for instance, won, each time their choices matched, and player B won, if their choices did not. The opponent’s choice was displayed after every selection, and payoffs in the form of apple cubes or money were dispensed to the winner.

In competitive games such as this, like in chess or poker, the players learn to guess their opponent’s moves based on the latter’s past choices, and adjust their own strategy at every step in order to win. An ideal game, eventually, develops a certain pattern. Using a set of math equations, described by game theory, it is easy to predict this pattern on paper. When the players are each making the most strategic choices, the game hovers around what is called an ‘equilibrium’ state.

In Camerer’s experiment, it turned out that chimps played a near-ideal game, as their choices leaned closer to game theory equilibrium. Whereas, when humans played, their choices drifted farther off from theoretical predictions.

More here.

Peter Thonemann at the Times Literary Supplement:

Thucydides goes on to give a sombre and terrifying account of the “violent teachings” of civil war: moral chaos, the abuse of political language, the collapse of due legal process. Corcyra, insignificant though it was in the grand scheme of things, turns out to reveal certain dark and permanent truths about human nature.

But what exactly are these truths? Thucydides does not say. Indeed, his analysis of the “meaning” of the Corcyrean civil war is so complex and allusive that one puzzled ancient reader felt compelled to draft his own summary of what he understood Thucydides’ argument about human nature to be. His – certainly wrong-headed – analysis is preserved in all our medieval manuscripts of Thucydides:

“And with civic life at that time so cast into commotion, human nature, naturally prone as it is to injustice and law-breaking, cheerfully revealed itself to be powerless over its passions, too strong for justice, and hostile to all superiority.”

Whatever Thucydides meant to say about human nature, it was certainly not that: he did not believe in the innate viciousness of the human soul. But one can sympathize with this anonymous reader.

more here.

Chris Kraus at The Believer:

In the years succeeding her death at age fifty, Acker’s work has been the subject of a documentary film, a symposium, and several scholarly works. Attention has mostly been focused on her as an exemplar of the “transgressive” genre of writing, performance, and art popular in the 1980s. Promoting herself more as a rock star than as a writer, she appears in numerous studio portraits taken during that era posed as a precocious child whore in a Victorian boudoir, displaying her extravagant tattoos and bulked-up biceps. Although she’d been actively writing and publishing in the East and West Coast art world and poetry communities since the early 1970s, it was not until the mid-’80s that her work was presented commercially. When her inventive, aggressive bricolage novel Blood and Guts in High School was reissued by Picador in London in 1984, she was hailed as “the high priestess of punk,” an avatar of resistance to the grim resignation of the Bush/Thatcher era. As her image solidified, so did her writing. While the writings that built Acker’s reputation are insouciant samplings of pornography, plagiarized classics, confessional memoir, and political satire, she began taking herself even more seriously than her fans and critics did. From the late ’80s onward, she adopted a somber high-modernist style, identifying herself as a postmodern poète maudit.

more here.

Greg Afinogenov at Bookforum:

St. Petersburg used to be a familiar place for Russians and non-Russians alike. It is so recognizable—even clichéd—as a setting for the high drama and intrigue of nineteenth-century Russian literary classics that one recent Russian novel features a first-person shooter videogame called Dostoevsky’s Petersburg. As Petrograd, we know it as the cradle of the Revolution, the backdrop for Eisenstein; as Leningrad, the tale of its suffering during the murderous Siege of Leningrad by Nazi and Finnish troops in 1941-44 is part of the common tragic legacy of World War II.

But there, after the war, the familiarity ends. Since World War II, countless Seinfelds,Zazies, and London Fields have made the world’s other great literary and cinematic metropolises as recognizable at their most humdrum and unglamorous as they are at their glitziest. Meanwhile, the postwar urban life of St. Petersburg has almost disappeared from the horizon not just of European or global but also of Russian culture. Ask a Russian to name a work set in postwar Petersburg or Leningrad and you will likely hear only three answers: the wistful 1979 romantic comedy Autumn Marathon, the grim 1996 revenge thriller Brother, and the 2000s cops-and-robbers TV serial Bandit Petersburg. A non-Russian could hardly be expected to produce even one.

more here.

Daydream #598

The mountain pass is notorious.
On the left the tangles of the pine trees
and on the right the planets and stars.
Sometimes I was overtaken, sometimes I had to brake
black-brown clouds charged along ahead of me
as though I should hurry but I was in no hurry.
I drove upwards like in a children’s song.
One sharp bend to go and then the highest point of the pass –
a few seconds as light as a skeleton
before everything goes tearing downhill.
I accelerated a bit and held my breath ready
when suddenly I was overcome
by a deep sleep, as clammy as thick fog.
All sound was silenced.
I quickly threw her into second and forced,
though I’d existed a moment ago,
like a velvet drill in heavenly matter.
Whether I was on my way home, or alone
or accompanied – I’ve clean forgotten.
Apart from that it was the depth of winter
and then that road, that hateful road
that just kept on climbing and climbing
there is no end to it.

by Alfred Schaffer
From: Mens Dier Ding
Publisher: De Bezige Bij, Amsterdam, 2014
Translation: Michele Hutchinson

Bryan Appleyard in New Statesman:

Very few of us can be sure that our jobs will not, in the near future, be done by machines. We know about cars built by robots, cashpoints replacing bank tellers, ticket dispensers replacing train staff, self-service checkouts replacing supermarket staff, tele­phone operators replaced by “call trees”, and so on. But this is small stuff compared with what might happen next.

Nursing may be done by robots, delivery men replaced by drones, GPs replaced by artificially “intelligent” diagnosers and health-sensing skin patches, back-room grunt work in law offices done by clerical automatons and remote teaching conducted by computers. In fact, it is quite hard to think of a job that cannot be partly or fully automated. And technology is a classless wrecking ball – the old blue-collar jobs have been disappearing for years; now they are being followed by white-collar ones. Ah, you may say, but human beings will always be better. This misses the point. It does not matter whether the new machines never achieve full human-like consciousness, or even real intelligence, they can almost certainly achieve just enough to do your job – not as well as you, perhaps, but much, much more cheaply. To modernise John Ruskin, “There is hardly anything in the world that some robot cannot make a little worse and sell a little cheaper, and the people who consider price only are this robot’s lawful prey.”

More here.

Danah Boyd on Medium:

Consider, for example, what’s happening with policing practices, especially as computational systems allow precincts to distribute their officers “fairly.” In many jurisdictions, more officers are placed into areas that are deemed “high risk.” This is deemed to be appropriate at a societal level. And yet, people don’t think about the incentive structures of policing, especially in communities where the law is expected to clear so many warrants and do so many arrests per month. When they’re stationed in algorithmically determined “high risk” communities, they arrest in those communities, thereby reinforcing the algorithms’ assumptions.

Addressing modern day redlining equivalents isn’t enough. Statistically, if your family members are engaged in criminal activities, there’s a high probability that you will too. Is it fair to profile and target individuals based on their networks if it will make law enforcement more efficient?

Increasingly, tech folks are participating in the instantiation of fairness in our society. Not only do they produce the algorithms that score people and unevenly distribute scarce resources, but the fetishization of “personalization” and the increasingly common practice of “curation” are, in effect, arbiters of fairness.

The most important thing that we all need to recognize is that how fairness is instantiated significantly affects the very architecture of our society. I regularly come back to a quote by Alistair Croll:

Our social safety net is woven on uncertainty. We have welfare, insurance, and other institutions precisely because we can’t tell what’s going to happen — so we amortize that risk across shared resources. The better we are at predicting the future, the less we’ll be willing to share our fates with others. And the more those predictions look like facts, the more justice looks like thoughtcrime.

Read the rest here.

Sonya Kurzweil in KurzweilAI:

In what follows, I offer five tips on parenting and digital media from my experience of being a mom and child psychologist. In general, I am optimistic. Perhaps it is easier for me to be positive than for some people. I may have a bias as I am also a wife to a pretty well known inventor of computer technologies and have had a front row seat to many extraordinary computer inventions over nearly 40 years and counting. I think it is fair to say: I am familiar with the territories of which I speak.

Tip: Take advantage of helpful apps | Apps can free up time so you have more of it to spend with your kids. On a pragmatic note, there are apps that can help free up your time so that you have more of it to spend with your kids or for refueling yourself. For example, one app that is popular in my son’s household and among his friends enables parents to select menus by the week online. Once the selection is made, the service delivers all the ingredients for each meal, measured out and ready to cook. No daily figuring, shopping, or measuring. It’s all prepared. That could give you an hour or two extra each day.

(Plated | What is Plated? Fresh ingredients and gourmet recipes delivered to your door. You Choose. We Shop. You Cook. At Plated we offer 5 chef designed recipes every week. You choose which you’d like to cook and we deliver all the ingredients to your doorstep. We take the hassle out of grocery shopping and meal planning, giving you back time spent in the kitchen. Just cook and enjoy!)

More here.

The voting round of our science prize (details here) is over. Thanks to the nominators and the voters for participating.

So here they are, the top 20, in descending order from the most voted-for:

1. Eruptions: So, You Think Yellowstone Is About to Erupt
2. Neurobabble: Parasitic wasps vs. zombie cockroaches
3. 3 Quarks Daily: The Dictionary is not Literature
4. Neurobabble: Technology and the adolescent brain
5. The Philosopher's Beard: Love's Labours Lost: How Robots Will Transform Human Intimacy
6. Things We Don't Know: Squid Lady Parts
7. BBC: The quest to save the Hollywood bison
8. Curious Meerkat: Eating Insects
9. An Evolutionist's Perspective: The Woes of Capitalism: Kinship, Sociality and Economy
10. Genotopia: On city life, the history of science, and the genetics of race
11. Slate: Promiscuity Is Pragmatic
12. Napoli Unplugged: Vesuvius at Night
13. Science Explained: Knock, Knock Who’s there?
14. Comparatively Psyched: The Robin's Song
15. Inkfish: Scientists Ask Why There Are So Many Freaking Huge Ants
16. Tree Town Chemistry: How One Scientist Broke in to Professional Craft Brewing
17. Ecology & Evolution: And to the victor the spoiled
18. Aeon: Cows Might Fly
19. Ecology & Evolution: What’s it like to study Zoology?
20. Psychology Today: Love, Love Medulla: The Neuroscience of Beatlemania

The editors of 3 Quarks Daily will now pick the top six entries from these, and after possibly adding up to three “wildcard” entries, will send that list of finalists to Frans de Waal for final judging. We will post the shortlist of finalists here on this Friday.

Jeremy Noel-Tod at Literary Review:

Like the Thatcherite Tories he supported in his later years, Philip Larkin, who died in 1985, has now undergone two decades of detoxification. The contamination was quick and calamitous. Anthony Thwaite's volume of Selected Letters in 1992 and Andrew Motion's biography in 1993 both provided ready evidence that Britain's favourite postwar poet had been – as well as a charming and witty personal intimate – a pornography-hoarding philanderer and casual racist. As he signed off in prophetic mockery to one correspondent: 'Ooh, Larkin, I'm sorry to find you holding these views.'

James Booth recently retired from the English department at the University of Hull, where Larkin worked for most of his life as librarian. Since the 1990s Booth has been one of the poet's most diligent posthumous restorers. A leading figure in the Philip Larkin Society and its neatly named magazine, About Larkin, he has written two previous books about the poet. Philip Larkin: Life, Art and Love, evidently a magnum opus, sets out to supersede Motion's Philip Larkin: A Writer's Life with the benefit of further research. 'Motion', indeed, pops up throughout to be twitted on various points of fact, such as whether Larkin's father really owned a twelve-inch mantelpiece statue of the Führer which performed a Nazi salute at the touch of a button (Sydney Larkin's sitting-room Hitler was, it seems, significantly littler, with no button, and possibly only one ball).

more here.

Barry Schwabsky at The Nation:

What first comes to mind when I think of Jeff Koons isn’t his art—not even his most memorable works, such as the stainless steel Rabbit of 1986 or the vast, flowery Puppy of 1992—but rather a cameo he had in a movie. In Gus Van Sant’s 2008 biopic Milk, Koons briefly graced the big screen in the role of Art Agnos, the progressive politician (and future mayor of San Francisco) who defeated Harvey Milk in the 1976 Democratic primary for a position in the California State Assembly. After a debate, Agnos offers his opponent a bit of advice: relentless criticism of the status quo isn’t enough to win the public over. Unless you can offer constructive programs to improve people’s lives, you’re just a downer, Agnos says: “You gotta to give ‘em a reason for optimism.” People need hope.

While the admonition seems to be faithful to the exchange reported by Milk’s biographer Randy Shilts, it might easily have been Koons’s own motto. When he began to attract attention in the early 1980s, the new watchword for art was “critique”; every up-to-date young artist was poring over books like The Anti-Aesthetic: Essays on Postmodern Culture (1983), edited by Hal Foster. Koons was one of the few artists of the time who wasn’t explicitly “anti” anything (except, as he has said, “anti-judgment”). What Foster called “a postmodernism of resistance”—one that “seeks to question rather than exploit cultural codes,” as he put it—was, for Koons, completely beside the point.

more here.