* What we’re talking about in my cultural preservation class today: Jyotsna Kapur’s “Capital limits on creativity: neoliberalism and its uses of art.” I’d actually suggest the adjunct herself functions as “the model worker of the new economy” alongside the freelancer.
The results of the Creative Culture Industry policy have already started to come in. Kate Oakley, among others, has shown that in the case of Britain these policies have exacerbated rather than eliminated inequality. They have led to gentrification and pockets of wealth in the midst of disintegrating social infrastructure. At the same time, work in the creative industries has become increasingly precarious — that is, temporary, project-based, and competitive, putting artists and media people in a constant in search of work (2006). As Richard Shearmur has indicated, calling upon local governments to modify their policies, planning, and budgets in order to respond to the preferences of the creative class boils down to reinforcing and subsidizing elites to a kind of ‘talent welfare’ that is reminiscent of ‘corporate welfare’ (2006-7, 37). In the process, art’s entire social role is undergoing a profound transformation. From being considered an imaginative and critical outsider or a participant in social transformation, the artist is now presented as the model worker of the new economy.
* The bad conscience of empire: Historic papers about the slave trade are among the enormous cache of public documents that the Foreign Office has unlawfully hoarded in a secret archive, the Guardian has learned.
* The chemical spill that contaminated water for hundreds of thousands in West Virginia was only the latest and most high-profile case of coal sullying the nation’s waters.
Connersville, Indiana police chief David Counceller’s most recent self-inflicted wound occurred when his sweatshirt jammed against his 40-caliber Glock’s trigger as he attempted to holster the weapon. He was examining a new Glock at a gun shop at the time.
* “To my mind, this embracing of what were unambiguously children’s characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence,” he wrote to Ó Méalóid. “It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite ‘universes’ presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.”
* The headline reads, “Pubic Hair Grooming Injuries Have Quintupled.”