Posts Tagged ‘hope’
Being a collection of things I may or may not have forgotten to include in today’s Thursday links.
* Postcolonial Catan. The English version of the piece starts about halfway down the page.
* A defense of Contemporaneanism. Typical tripe from the rearguard forces of retro-Contemporaneanism. Search my blog archives for a definitive rebuttal.
* In short, when institutions invest in pools and climbing walls, they are catering to the needs of their least motivated, and least needy, clients — good for the colleges’ bottom lines but the opposite of society’s priorities. I’d need a lot more evidence even to grant these were “good for the colleges’ bottom lines.”
* The sky was the color of television, tuned to a dead channel, and the clocks were striking thirteen: Ms. Bolender was three days behind on her monthly car payment. Her lender, C.A.G. Acceptance of Mesa, Ariz., remotely activated a device in her car’s dashboard that prevented her car from starting.
* Dialectics of Obamaism: Campaigners said the Pacific Remote Islands reserve – because of its sheer scale – would cement Obama’s conservation legacy. However, they noted that Obama had dramatically scaled back the reserve following opposition from the commercial tuna industry. I dunno, that seems to cement it pretty well.
* Making use of PSID data for 1984, 1989, and 1994, we examine race differences in patterns of asset accumulation. Our results indicate, as expected, that inheritances raise the rate of wealth accumulation of whites relative to that of African Americans. But, while whites devote a greater share of their income to saving, racial differences in saving rates are not significant, once we control for income. Though our results may be period-specific, we also do not find evidence that the rate of return to capital is greater for whites than for African Americans. Simulations suggest that African Americans would have gained significant ground relative to whites during the period if they had inherited similar amounts, saved at the same rate, had comparable income levels and, more speculatively, had portfolios closer in composition to those of whites. And thus.
* BREAKING: They looted the public pensions but good.
* What we need now, more than ever, are technologies and organizations that are not only equally useful, but also more desirable than the status quo. Too often, leftists engage in a strange kind of doublespeak—on the one hand, we describe an insidious marketing machine that can produce want-product binaries with ruthless efficiency and efficacy, and on the other offer up restricted diets and buggy open source software as alternatives. How do we expect to win the hearts and minds of future generations?
* I don’t know that the state really needs to fight every case: Pennsylvania Attorney General Blames Woman For Her Own Rape.
* And you think things are bad now: Venture Capitalists Are Poised to ‘Disrupt’ Everything About the Education Market.
* But it’s not all bad news: Bill and Ted live!
I wanted to Storify my back-and-forth with my friend Aaron Bady (and a few other people, but mostly him) on the question of guilt and complicity in liberal politics, which was prompted by his Texas Stands With Gaza post and ultimately looped around, as all things must, to Snowpiercer.
Aaron is right that I’m using Snowpiercer (along with Pacific Rim, Beasts of the Southern Wild, and some other recent Anthropocene science fictions) in a piece of academic writing I’m working on, so I’ll hold off on doing a full reading of the film here for now. But I think the film actually figures this debate we’re having in a pretty direct way. The people on the train are all “guilty” and “complicit” with the Snowpiercer system, albeit in different ways and to different degrees; like any necropolitical survivor, they are all alive while/because someone else has died. Even on the level of character development, much of the movement of the film is directed towards making Chris Evans’s character Curtis feel as though he is worthy of great things despite the guilt he carries with him; characters frequently say this to him explicitly, even, most notably, the character he once tried to eat as a baby and who he later abandons in the name of the larger mission! In fact this guilt, in properly liberal terms, is indistinguishable from his worthiness to lead, with the final act of the film culminating in Curtis being offered the position of the Wizard of Snowpiercer. The Curtis plot in the film is more or less a familiar liberal drama about coming to terms with your own guilty complicity in the system, a process which as if by baptismal magic thereby makes you worthy to run the whole thing as if you’d never been guilty or complicit in the first place.
Aaron’s reading on the film insists that this is the only trajectory open to us, even as he repeatedly turns to Kang-ho Song’s Namgoong as the voice of alterity, rejecting his plan as nonviable. Namgoong knows the train is a horror and knows the train is doomed by its own entropic breakdown, rejects guilt or complicity as a frame, and instead works to blow open the doors and escape. (And this is the position Curtis ultimately settles into as well, having finally hit an encounter of guilt which he can’t autoredeem his way out of in the form of the children in the engine.) Here then we see one version of the Canavan position: guilt is a way of becoming re-trapped, linked back into the atrocity engine, while refusing to identify with the system and its terms opens up the horizon of the future. Neither Namgoong nor Curtis survive the derailment of the train (“there is hope, infinite hope, but not for us”), but their protégés do, and in the final shot of the film see a live polar bear moving outside the train, indicating that life of some kind persists outside the train and that therefore there is something like hope after all.
Now, Aaron rejects all of this — “it’s too cold out there! they have no skills or supplies! that polar bear will probably just eat them!” — and of course he’s right to do so on the level of cold realism; like most such apocalyptic scenarios, the situation is too far gone to allow any sort of genuine renewal. (I always think of the way the Matrix sequels had to confront this, ultimately having the heroic rebels make a truce with the monsters they were supposed to slay because the world is too far gone to actually free anyone anymore.) But this is where Aaron’s flattening of Jameson’s theory of utopia hurts him a bit — because the kernel of the Jamesonian reading of the film is not to imagine it as a practical alternative to the present so much as to figure the ongoing exist alternative in an era that, at every turn, loudly insists there isn’t one.
For it is the very principle of the radical break as such, its possibility, which is reinforced by the Utopian form, which insists that its radical difference is possible and that a break is necessary. The Utopian form itself is the answer to the universal ideological conviction that no alternative is possible, that there is no alternative to the system. But it asserts this by forcing us to think the break itself, and not by offering a more traditional picture of what things will be like after the break. (Archaeologies 232)
Snowpiercer, it seems to me, is pretty plainly about this effort of the imagination; neither the setup nor the climax is really amenable to any sort of realistic analysis about the practicalities of the situation. It’s preposterous from start to finish. The point of the film is to disrupt our guilty comfort and our comforting guilt about a system we all know is terrible (“those crooked fuckers”) but think we can’t oppose, only picket and sigh about and be more beautiful than (“oh, we guilty sinners, oh this fallen world”). So of course the film is an allegory after all; what it figures isn’t the actual situation of capitalism but the hopeless prospects for people who can’t see any way to stop the train, other than a crash, and who perhaps for that very reason have come to believe they’re the ones who are driving it.
* Humanities instrumentalism we can believe in: Why do we need the liberal arts? Because it gives us sci-fi.
If the criterion for funding areas of study must be that they add to American wealth and competitiveness, then I’d like to offer my own only half-unserious case for the liberal arts. I propose that they should survive, and thrive, because they give us science fiction, and science fiction creates jobs and makes us rich.
* The summit, billed as “Organizing Resistance Against Teach for America and its Role in Privatization,” is being organized by a committee of scholars, parents, activists, and current corps members. Its mission is to challenge the organization’s centrality in the corporate-backed, market-driven, testing-oriented movement in urban education.
* The New Yorker profiles Desert Bus, deliberately the worst video game ever made, and the charity that has sprung up around it, Desert Bus for Hope.
* Tourism’s real roots do not lie in pilgrimage (or even in «fair» trade), but in war. Rape and pillage were the original forms of tourism, or rather, the first tourists followed directly in the wake of war, like human vultures picking over battlefield carnage for imaginary booty—for images.
Tourism arose as a symptom of an Imperialism that was total—economic, political, and spiritual.
* Almost every party, gender, income, education, age and income group regards Snowden as a whistle-blower rather than a traitor. The lone exception is black voters, with 43 percent calling him a traitor and 42 percent calling him a whistle-blower.
* Obama’s ‘Insider Threat Program': A Parody of Liberal Faith in Bureaucrats. If only this program had some historical parallel we could point to to illustrate its potential dangers!
In an initiative aimed at rooting out future leakers and other security violators, President Barack Obama has ordered federal employees to report suspicious actions of their colleagues based on behavioral profiling techniques that are not scientifically proven to work, according to experts and government documents.
The techniques are a key pillar of the Insider Threat Program, an unprecedented government-wide crackdown under which millions of federal bureaucrats and contractors must watch out for “high-risk persons or behaviors” among co-workers. Those who fail to report them could face penalties, including criminal charges.
* After the death of the desktop, the death of the laptop? I am quite fond of my iPad, but I can’t imagine relying on it alone…
* Is it too late? The long view offers reason to hope. From Kim Stanley Robinson.
* In a previous post on this site I announced a plan for the creation of MOOA, or massive, open, online administrations that would supplant the thousands of separate administrations currently managing the affairs of America’s colleges. The MOOA idea was, of course, satire. However, I must report that two educational consultants contacted me to offer their services in bringing my MOOA to the market. Additionally, three separate reporters called to discuss the MOOA concept. When I explained that MOOA was a satire, one asked, “Are you sure?”
* What we need instead, I think, is a study of neoliberal bias in the university, particularly since the rhetoric of neoliberalism has now become ubiquitous, the lingua franca of administrators and even many faculty. In the 1990s Bill Readings observed that the new rationale of the university was the amorphous, technocratic one of “excellence,” rather than the traditional ones of disciplinary reason or national culture. The incantation of “excellence” no longer has quite the same currency; the new neoliberal mantra includes the buzzwords “disruption,” “innovation,” and “choice.” Part of their force is that they seem self-evident goods: who would be against innovation or choice? But I think that they sidestep some of the crucial problems of higher education, especially regarding equality. According to all the statistical markers, college is subject to a steeper class divide than it was 40 years ago, and academic jobs show a sharper stratification. This violates the best hope of the American university. What good is innovation if it brings us a more inequitable world?
* …given what we know from the big picture, I think it’s safe to say that ostensible reason for the long-term collapse in humanities enrollment has to do with the increasing choice of women to enter more pre-professional majors like business, communications, and social work in the aftermath of a) the opening of the workplace and b) universal coeducation suddenly making those degrees relevant. You’d have to be pretty tone-deaf to point to their ability to make that choice as a sign of cultural malaise.
* I used to maniacally play Solitaire Tic-Tac-Toe to keep myself sane in high school. If I’d known about Tic-Tac-Toe2, I might never have graduated.
* And good news everyone! The housing bubble is back!
I didn’t learn until I was in college about all the other cultures, and I should have learned that in the first grade. A first grader should understand that his or her culture isn’t a rational invention; that there are thousands of other cultures and they all work pretty well; that all cultures function on faith rather than truth; that there are lots of alternatives to our own society. Cultural relativism is defensible and attractive. It’s also a source of hope. It means we don’t have to continue this way if we don’t like it. (source)
From the Tumblrs: R. Crumb’s proof that there really is no hope.
The twins’ mother, April Gaede, who has been a prominent member of racist fringe groups like the National Alliance and the National Vanguard, brought up her daughters with the ethos of white nationalism — a mix of racial pride, anti-immigrant hostility, Holocaust denial and resistance to the encroachment of “muds,” i.e., Jews and nonwhites.
But after enrolling in public school and moving to Montana — a predominantly white state, albeit one with a decidedly hippie-ish vibe — Lamb and Lynx decided they simply no longer believed what they’d been taught.
Their transformation first became evident to Prussian Blue’s fans during the band’s 2006 European tour, a double bill with the Swedish white-power warbler Saga. Along with their familiar repertoire of Skrewdriver covers, racist folktunes glorifying Rudolf Hess and other Aryan “heroes,” and perky bubble-gum ballads about boys and middle school, the girls threw the audience a curve ball — a rendition of Bob Dylan’s “Knockin’ on Heaven’s Door.”
“Mama, put my guns in the ground,” they sang to a smattering of boos from the crowd of Scandinavian skinheads and other far-right music aficionados. “I can’t use them anymore.”
They knew it was an unorthodox choice. “Oh, our mom warned us,” Lamb recalled. “She said, ‘You know, some people aren’t going to like this — Bob Dylan was a Jew.’”