Po Mo No Go

by Denis Robinson

Some philosophers I know seem to be engaging in a “this is what I work on in no long words” meme game. I’m retired and I don’t think I could have done it anyway. But in 2005 there was a wee game of that ilk, in which the aim was just to write some philosophy in words of one syllable. I wrote some thoughts I had had: short words but a long piece. I’ve taken this opportunity to make a couple of improvements I’ve long thought of. Here is the whole thing:

Some say it’s all just text and what it means must be as may be, no neat or sharp thoughts or claims which mean just what they say, no grand tales we can know to be true, just a mix of words which shift as we look at them or speak them or hear them some way or not, say “yes” or “no” to them, or play our word games with them just as we play our life games, fight our word wars with them as we fight our life wars, and so on and on and all this and that. If it takes text to say what text means, and then yet more text to say what that text means, and so on, how can it end but in text? At least in France.

But I say this. You can think of words as like tools.

So let’s think of tools for a bit. Stone age folks had a few rough tools, which would do a few rough jobs – split a rock, or a tree, or a skull, crush a nut, spear or skin a fish or a deer, store an egg or some seeds, light a fire, but all no more than fair for what few things they had to do. You might think a lot of rough tools could just make more rough tools at best. Not so. We now have lots of good fine sharp tools, which cut and draw and rule straight and true, we can make a neat screw bolt with a nut to fit tight on it, we can weigh a small wee bit of an ounce or a gram, we can build a plane or a ship or a great big house or mall or hall or bridge, we can see things much too small for the eye to see on its own, we can make small hard drives which store gigs and gigs of stuff, we can surf the net and phone some place on the far side of the world while still on line. We have tools which each do their own jobs well, just as we wish them to, more or less, and each new lot of tools lets us make the next lot yet more fine and use them for yet more things.

I say, so it went with words. It may be that once we had just rough blunt words as tools to speak our speech and think our thoughts. It may be that back then our thoughts, or at least our words and what they meant, were vague, not clear, a mix, like things seen in dreams. Our words would not add all that much to our ways of life, just help us share a bit, work a bit, play a bit, each with each, but all vague, each like a broad dim patch, not a bright spot or dot in the great field of things we might think or mean. But just as you can start with blunt tools and make tools that are sharp, you can start with dim thoughts and make thoughts that are clear, start with vague words and make words that mean things sharp and true, words that do well to state just what you mean and such that each one who knows those words knows what you mean when you say them. Read more »



On the Road: Field Notes from the Wreckage of Tourism

by Bill Murray

News from the leisure travel world is worse than grim. More than half of the 16 million travel industry jobs in the United States have been lost. On 14 April last year the TSA processed 2,208,688 air travelers. This year that number was 87,534. 

It’s the same everywhere. Da Nang saw a 98.5 percent year on year drop in visitors over Vietnam’s four day Reunification Day holiday. Ninety nine point nine percent fewer foreign visitors entered Japan in April than a year earlier. Planes are parked and ships are docked.

They outfit the American cruise ship industry in a low key shipbuilding town on the Bay of Bothnia in Finland. Turku shipyards built the world’s biggest floating petri dishes, the 360 meter long ships Oasis of the Seas and Allure of the Seas, for Royal Caribbean International.

Seventy seven thousand employees, Royal Caribbean had, until a virus as unfriendly to people as plastic to the sea torpedoed its heart, soul and balance sheet in three months flat. Maybe Turku can save its shipyard jobs by building hospital ships; Royal Caribbean may tread choppy water forevermore. Read more »

When the Real World turns Virtual…the new reality of office life?

by Sarah Firisen

Two months ago, COVID lockdown was still new; in the US it was horrific that 3,000 people had died and  I wrote about some possible longer-term technology innovation that might come out of  this crisis.  Fast forward to today and the US has just passed an unimaginable, grim milestone, 100,000 dead. And while states are starting to emerge, some slowly, some too quickly, from the most extreme aspects of the lockdown, it’s becoming very clear that some things may be changed permanently, or at least for a very long time to come. 

Back in March, I wrote about the resistance to telecommuting that I used to face from bosses and colleagues who questioned what I was really doing if I wasn’t sitting in the same space as them all day. One of the answers I’ve given over the years is that unless you’re sitting next to me all day long and looking over my shoulder at my computer, you don’t know what I’m doing most of the time anyway. Instead, you should judge me on my output.  Famously Marissa Mayer, on taking over Yahoo, banned telecommuting, “Speed and quality are often sacrificed when we work from home,” the company’s human resources director told employees.” But the truth is, we all know how much time can get frittered away in offices with water cooler chatter and coffee break flirtations, endless seemingly pointless meetings and “quick” breaks to pop out and buy something.

Two months ago, though it seems like so much longer, I said, “we’ve all been thrust into a great social experiment to see just how productive, perhaps more rather than less even, the entire workforce will be working remotely.” Well, it’s Memorial Day weekend and the verdict is in: turns out, we’re all pretty productive, even more so than we were before in fact. We’re using the time that we used to spend showering and commuting to sit down with a cup of coffee and start responding to emails at 7 am. Even with the distractions of home schooling and sharing our spaces with partners and pets, it turns out that most people don’t need even the illusion of managerial constant monitoring of their physical selves to get them to do their jobs. And a lot of companies have taken note. More than that, they’ve realized just how much money they’ve saved as they’ve stopped paying for WeWork space, dropped pricey office leases and T&E has basically plummeted to almost nothing as we’ve all realized that we didn’t need to fly across the country for that one hour client meeting after all and instead could have conducted it on Zoom all along. Corporate America’s conclusion: if we can all be just as productive, maybe more so, sitting on our sofas AND they can save millions in expenditure, then let’s just keep doing this. Read more »

In His Malady’s Service 

by Maniza Naqvi 

Today will mark the death of at least one hundred thousand Americans because of COVID. The science was clear. Lockdown. Stop movement. Distance. This would have stopped large numbers of people dying. In short, stopping the virus from becoming a pandemic meant pausing the profit principle.

The pandemic has laid bare the cruel and clear fact that pausing for people is not possible for capitalism. If the accumulation of capital is the primary principle, then humans in comparison to this hegemon are only inputs for its expansion and its accumulation—humans are interchangeable and dispensable while the hegemon of capitalism is supreme. And all else are in the service of ‘his’ malady.

Those who should have acted and acted fast and done everything they could, did not.  Even though they knew what the science was saying early on. All of them. Their Intelligence services were surely telling them what was going on in China? Or were they only focused on maximizing the sales of weapons?  A war on Iran?  If the Intelligence Services knew then why did lockdowns not happen earlier? Read more »

A Fantasia on Irises

by Bill Benzon

When I was a child I sought out the first blossoms of spring. The forsythia bushes were first. Then tulips perhaps? I don’t really remember. I’m guessing, though the guess is not groundless. Daffodils, yes daffodils, yellow and white.

But I DO remember the irises. Not vividly, for it was a long time ago and, as I sit here running through memories while typing these lines, none of them are vivid. But distinct. I even remember bowing down to see them more clearly. This memory is kinesthetic.

David Anstiss, 2015, CCA BY-SA 4.0

And I remember my mother kneeling in front of the flower bed. Brown slacks. Heavy gloves. She was breaking up the ground and weeding the bed. Her flowers.

She loved the irises. At least I think she did. I know I did. Why? They were tall flowers, the tallest in the bed. Was that it? Perhaps, in part, height brought the blossoms closer to the yes. Was it the color? They were colorful. It was only much later that I would learn how many different colors and colorways found homes on irises. These irises were what I have come to think of as “canonical” or “standard” irises – light blue, deep purple, white, flecks of yellow on the beards.

Yes, that’s what they’re called,  at least colloquially, those fuzzy yellow things radiating from the center – beards. The more or less vertical petals are called standards; the droopy ones are called falls. And that complicated stuff in the center – anther, crests, stigmatic lips (stigmatic!?). It’s all so complicated. Read more »

Jon Hassell tribute, part 1: Jon and his collaborators

by Dave Maier

Jon Hassell is one of America’s musical treasures, and I’ve been listening to his music for forty years, so when I heard he needed help for his medical care, I decided to make a mix of his music. This mix actually grew into two mixes, so look for another one next month. This one features Jon playing with other musicians, and part two will feature other musicians whom Jon has influenced (and a bit more from Jon himself).

Here’s the link to his gofundme page (https://www.gofundme.com/f/jon-hassell-fund). As of 5/24/20, 1100+ people have donated ~$75,000, but the listed goal is $200,000, and we all know how expensive medical care can be. Please do what you can.

Here’s the mix (direct link: https://www.mixcloud.com/duckrabbit/jon-hassell-tribute-pt-1-jon-and-his-collaborators/):

Read more »

Sunday, May 24, 2020

What Kind of Country Do We Want?

Marilynne Robinson in the New York Review of Books:

Doña Ana County, New Mexico, 2017; photograph by Matt Black

In my odd solitude I stream the America of recent memory. The pretext for drama, in the foreground, seems always to be a homicide, but around and beyond the forensic stichomythia that introduces character and circumstance there is a magnificent country, a virtual heaven. In a dystopian future, children would surely ask what it was like to live in such a country. Candid memory would say, By no means as wonderful as it should have been, even granting the broad streaks of pain in its history. Before there was a viral crisis whose reality forced itself on our notice, there were reports of declines of life expectancy in America, rising rates of suicide, and other “deaths of despair.” This is surely evidence of another crisis, though it was rarely described as such. The novel coronavirus has the potential for mitigation, treatment, and ultimately prevention. But a decline in hope and purpose is a crisis of civilization requiring reflection and generous care for the good of the whole society and its place in the world. We have been given the grounds and opportunity to do some very basic thinking.

Without an acknowledgment of the grief brought into the whole world by the coronavirus, which is very much the effect of sorrows that plagued the world before this crisis came down on us, it might seem like blindness or denial to say that the hiatus prompted by the crisis may offer us an opportunity for a great emancipation, one that would do the whole world good. The snare in which humanity has been caught is an economics—great industry and commerce in service to great markets, with ethical restraint and respect for the distinctiveness of cultures, including our own, having fallen away in eager deference to profitability. This is not new, except for the way an unembarrassed opportunism has been enshrined among the laws of nature and has flourished destructively in the near absence of resistance or criticism. Options now suddenly open to us would have been unthinkable six months ago.

More here.

Inside Trump’s coronavirus meltdown

Edward Luce in the Financial Times:

When the history is written of how America handled the global era’s first real pandemic, March 6 will leap out of the timeline. That was the day Donald Trump visited the US Centers for Disease Control and Prevention in Atlanta. His foray to the world’s best disease research body was meant to showcase that America had everything under control. It came midway between the time he was still denying the coronavirus posed a threat and the moment he said he had always known it could ravage America.

Shortly before the CDC visit, Trump said “within a couple of days, [infections are] going to be down to close to zero”. The US then had 15 cases. “One day, it’s like a miracle, it will disappear.” A few days afterwards, he claimed: “I’ve felt it was a pandemic long before it was called a pandemic.” That afternoon at the CDC provides an X-ray into Trump’s mind at the halfway point between denial and acceptance.

More here.

The Coronavirus Cruise: On Board The Diamond Princess

Joshua Hunt in The Economist:

The Diamond Princess has a steakhouse, a pizzeria and restaurants specialising in sushi and Italian cuisine. Buffets offer prime rib, escargots and crème brûlée, all served in gigantic portions at every hour of the day or night. The ship has its own mixologist, sommelier and chocolatier.

The Diamond Princess is one of about 300 cruise ships that circle the globe each year. Last year they carried 30m passengers through holidays that seem to belong to another time, before travellers prized authenticity over luxury, sustainability over excess and adventure over sedentary stimulation. However outdated the cruise experience may seem, more passengers are enjoying it than ever before. Last year Carnival Corporation, the world’s largest cruise-ship conglomerate, which owns Princess Cruises along with eight other lines and carries half the world’s cruise passengers each year, brought in record-setting revenues of $21bn.

More here.

How Obama Could Find Some Redemption

Paul Street in Counterpunch:

History, literature, film, and scripture are loaded with stories and examples of redemption. Buddhism gives us the story of Aṅgulimāla, a pathological mass-murderer who became a follower of the Buddha and went on to be enshrined as a “patron saint” of childbirth in South and Southeast Asia. Rick Blaine, the character played by Humphrey Bogart in the 1942 Hollywood classic Casablanca, put side his cynical bitterness and seeming indifference to the rise of the Nazi Third Reich to help Isla Lund (played by Ingmar Bergman) – the former lover who jilted (and embittered) him – escape the grip of the Nazis with her husband, an anti-fascist Resistance fighter. The movie ends with Blaine declaring his determination to join the Resistance in Morocco. The New Testament tells the story of Zacchaeus, a chief tax collector and a wealthy man:

“Jesus looked up and said to him, ‘Zacchaeus, come down quickly, for today I must stay at your house.’ Zacchaeus stood there and said to Jesus, ‘Behold, half of my possessions, Lord, I shall give to the poor, and if I have extorted anything from anyone I shall repay it four times over.’ And Jesus said to Zacchaeus, ‘Today salvation has come to this house. For the Son of Man has come to seek and to save what was lost.’”

Zacchaues was perhaps inspiration for Charles Dickens’ character Ebeneezer Scrooge, a vicious exploitative capitalist turned into a benevolent and kindly employer when the ghosts of Christmas past, present and future visit him to tell him the story of his heretofore miserable, money-grubbing, and misanthropic life. Malcom X told his life story to Alex Haley as one of redemption. It was a tale of progression from violent and criminal hustler (known as “Detroit Red”) to the righteous and radical channeling and focusing his anger at White Society as a fiercely eloquent Civil Rights fighter for all the oppressed. When the leading munitions and arms manufacturer Alfred Nobel read a premature obituary that condemned his as “the merchant of death,” he bequeathed his fortune to establish the annual Nobel Peace Prize.

More here.

Eleanor Rigby — The Beatles delivered a tragedy in microcosm

Dan Einav in Financial Times:

There is perhaps no better individual showcase of The Beatles’ infinite variety than the “Yellow Submarine”/“Eleanor Rigby” double A-side record released on August 5 1966. One single was a nonsensical nursery rhyme, the other, an elegiac “ba-rock” threnody about the forgotten elderly, which served as an exemplar of emotionally profound pop songwriting. Not that “Eleanor Rigby” really is a pop record in the conventional sense — after all, it marked the first time that none of the group played any instruments on a track. Instead, two string quartets (both playing the same melodies to “double” the sound) create a funereal soundscape perfectly suited to the song’s tale of loneliness, anonymity and death. While poignancy had never been far removed from some of The Beatles’ best early compositions (“In My Life”, “Yesterday”, “Help”), in “Eleanor Rigby” the band delivered a tragedy in microcosm.

Sitting at a piano one night, Paul McCartney found that the arrestingly sad and evocative opener of “picks up the rice in a church where a wedding has been” came to him almost spontaneously, as did the notion that they should become part of “a lonely old woman song”. Before anything else, McCartney needed a name for this character. “Daisy Hawkins” had been a placeholder in an early draft, but it wasn’t until he stumbled across a wine shop called “Rigby and Evens” in Bristol that McCartney found a satisfactorily “natural” name; “Eleanor” meanwhile was derived from Eleanor Bron, a cast member from the film Help! Those of a more psychoanalytic persuasion, however, may argue that the name was dredged up from the depths of his subconscious. For in July 1957, McCartney is known to have visited St Peter’s Churchyard in Woolton, Liverpool, where there is a grave belonging to the “real” Eleanor Rigby.

…Eleanor Rigby became a kind of metonymy for all the isolated and destitute; in Liverpool a statue was erected of “her” in commemoration of “all the lonely people”. And in the way it immortalises the overlooked and downtrodden, “Eleanor Rigby” can be seen as a pithy counterpart to Thomas Gray’s “Elegy Written in a Country Churchyard”.

More here.

Sunday Poem

Ουδέν μονιμότερον του προσωρινού*

After a Greek Proverb

We’re here for the time being, I answer to the query—
Just for a couple of years, we said, a dozen years back.
Nothing is more permanent than the temporary.*

We dine sitting on folding chairs—they were cheap but cheery.
We’ve taped the broken window pane. tv’s still out of whack.
We’re here for the time being, I answer to the query.

When we crossed the water, we only brought what we could carry,
But there are always boxes that you never do unpack.
Nothing is more permanent than the temporary.

Sometimes when I’m feeling weepy, you propose a theory:
Nostalgia and tear gas have the same acrid smack.
We’re here for the time being, I answer to the query—

We stash bones in the closet when we don’t have time to bury,
Stuff receipts in envelopes, file papers in a stack.
Nothing is more permanent than the temporary.

Twelve years now and we’re still eating off the ordinary:
We left our wedding china behind, afraid that it might crack.
We’re here for the time being, we answer to the query,
But nothing is more permanent than the temporary.


by A.E. Stallings
from Poetry Magazine, Jan. 2012

Saturday, May 23, 2020

ZIRP explains the world

Rajan Roy in Margins:

The thing is, money has expectations. At an individual level, most of us have become accustomed to bank savings accounts effectively returning zero. That wasn’t enough for us though. Our money felt antsy, so it found index funds and other passive funds, to once again, find a bit of yield. They are certainly riskier than a bank savings account (where your only risk is the bank going under), but hey, no one has ever really lost in a Wealthfront account. Money swims towards yield.

That same, tiny behavioral shift takes place at every level of the risk curve, from your savings account to the trillions of dollars managed by large pension funds. That’s exactly how it’s supposed to work; rather than that money sitting in your 0.01% savings account, you put it to work somewhere else. For a pension fund, they might even have a prescribed expectation of yield (to match expected liabilities), meaning, to maintain a consistent return, they have to move up the risk curve.

So all these dollar-organisms all start swimming towards riskier waters. Treasury investors shift to corporate debt. Public equity hedge funds shift to late-stage private equity. Late-stage private equity shifts to mid-stage, mid-stage to early stage. Seed rounds become bigger. Angel investors become a thing. Unicorns, unicorns, and more unicorns. Ashton Kutcher.

And that’s how we end up where we are. In the past, if somewhat risky corporate debt got you 10%. It now gets you 7% (I’m making up numbers here) so you start taking meetings with late-stage growth companies.

More here.

Out of This Disaster, New Approaches to Art May Emerge

Hal Foster in Lit Hub

I suck at predictions. Surely with the financial meltdown in 2008 the art market would crash and the art world would be transformed. Wrong. Surely the Occupy movement would prompt museum directors to rethink excessive reliance on plutocratic patrons. Wrong again. I could list other failed forecasts, but maybe these are enough to suggest why even I don’t listen to me anymore. So please don’t ask me what lies ahead for the art world if and when Covid-19 loosens its grip. I haven’t a clue.

I do have a few thoughts, though, on what has happened lately; that’s the subject of my book What Comes After Farce? Art and Criticism as a Time of Debacle. The current state of emergency didn’t begin in March 2020; it runs back to September 2001. Since 9/11, in the US and elsewhere, we have lived in a world where the rule of law is sometimes suspended and often spotty, in ways that have put countless people at varying degrees of risk. The virus has just made this all the more blatant.

Historically, the avant-garde aimed to contest the oppressive presence of law, whether that law was understood as artistic, social, political, or all three at once. But how are artists, writers, and others to respond when law becomes highly erratic, arbitrarily enforced one moment and just as arbitrarily absent the next? How to create, how to survive, in a state of emergency?

More here.