Neoliberalism vs. freedom

Here is Mary Wakefield in this week's Spectator magazine, on the use of mainstream Hollywood entertainment to desensitise teenage war criminals:

"Joshua Milton Blahyi (General Butt-Naked to his foes) ... was once a warlord in the Liberian civil war. Back in the bad old days, Joshua specialised in turning boys into psychopaths...

"He began, he said, by promising boys status. ‘They followed me at first because I was powerful and strong, and they wanted to be important like me.’ It was crucial that this first step was freely taken; that it was their choice. After that, the monster-making began. They were shown violent movies. ‘So they can see,’ said Joshua, ‘that these people in the movies, they intentionally shoot people that die, that killing is just a Hollywood game.’ Hollywood movies, I asked, not African ones? ‘Yes, Hollywood films.’

"The next step was to let them play with guns, shooting blanks, showing off, pretending to kill, and then: ‘We give them a knife to stab dead bodies,’ said Joshua. ‘At first it is hard for them, they feel fear. Later they are stabbing the bodies on and on… On and on and on.’

"...You must escalate the violence all the time, he said, so as to keep the boys in line. Once they’re happy killing, you make them rape, torture, behead. There are things Joshua made his young recruits do that are too horrible and too sad to repeat..."
 
Overleaf in the print edition, we have James Delingpole's panegyric to violent computer gaming, headed:

"The greatest joy of playing Grand Theft Auto V? It lets you give the finger to the PC brigade. It’s condemned for its outrageous sexism, racism, misogyny and violence. But it’s damn good fun."

And one in the eye for his false opposite, "feminazis".

John Ward's piece last night also has a go at the brainless dichotomies offered by neoliberalism, starting with:

"Problem: On the whole, regulators of markets have no experience of commercial life….and thus they tend to both miss the villainy – and come up with daft regulations that just get in the way.

"Neoliberal solution: Deregulation. No more regulators at all."

We have seen what financial deregulation has done since the 1980s. And the latest twist is global regulation in favour of big money - TTIP and so on.

Neoliberalism - as far as the term has any sense to me - may be neo, but it is not what I understand by liberalism. It is not about promoting the freedom of individuals, but - as far as I can see - destroying their defences against oligarchic power and wealth. Now international law is co-opted, so for example if GATT stalls at Doha in 2008 because smaller countries worry about American export disruption to their domestic markets, the US crashes into the TPP to find another way round. The juggernaut rolls on.

From a review in the Sydney Morning Herald
of Ludwell Denny's book, "America Conquers Britain" (1930).

This week also, Charles Hugh Smith looked at the "clerisy", those who serve themselves by serving the world's would-be masters:

"The Status Quo around the world--from France to China to the U.S.--is optimized to protect its Elites and the sprawling Upper-Caste of academics, managers, think-tank toadies, technocrats, apparatchiks, functionaries, factotums, lackeys and apologists who serve the Elites, and are well-paid for enforcing the Status Quo on the disenfranchized castes below..."

What a shame it would be if, in his efforts to get noticed by Rupert Murdoch, Jame Delingpole should eventually find himself wearing the livery of the clerisy.

Can anything stop them? "What chance has the world?"


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After the conference?

This little figure of a clown was carved from linden wood by Pascal Bosshardt of Thannenkirch in Alsace. We were there last year and bought the figure after watching him at work. To take the photo I stood the clown by a pound coin to give an idea of scale. 

I'm fascinated by this kind of skill, probably because I'm so far from being able to emulate it. I just don't have the coordination between hand and eye, the sense of scale and proportion. This was one of his simplest pieces too. 

I don't know what inspired M Bosshardt to carve it, but to my eye the clown could be an ironic reference to politics. A clown blowing his own trumpet. Doesn't quite work because his expression has a touch of melancholy. 

After the conference?

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MAD

AK Haart raised the question of how over-entertainment and superinformation are changing us. I think it's at least as serious an issue as the phoney drugs war.

Mentally Addictive Devices (MAD) seem to me to be shortening attention span, overstimulating and exhausting the mind with trivial and repetitive tasks, and fostering a hazy expectation of instant gratification in other aspects of life.

They also divert attention from pursuing action that furthers one's real long-term interests - there are students flunking college because of their addiction to computerised role-playing games.

And they override alertness to real physical risk. Look at those who walk blindly across a road while on their cellphones; and the poor girl murdered on a Birmingham bus last year had previously noted the strange behaviour of what was to be her killer, but had merely commented on it on her phone - I think the phone gives the illusion of society and so misleads one into a false sense of security.

What if Orwell's eternally ruling Party had realised that you could subjugate the people with endless dreams?


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Ur-language: "Politics"

One of the striking aspects of archaeolingustics is how certain words have survived millennia almost unchanged - one thinks for example of "atman" (breath, to blow) in Cave Six, the ancestor of the German "atmen" (to breathe) and "atman" (vital breath, the soul) in Sanskrit. The glyph for "atman" is found close to the depiction of a hunter using a blowpipe to bring down some as yet unidentified arboreal creature; given the age of the painting, this has sparked a lively debate on the tools that early Man may have developed before the Rift Valley diaspora.

Similarly, there are several images of what appear to be mouflons in a non-hunting context, suggesting that they may have been domesticated much earlier than the c. 8,000 BCE date previously theorised, perhaps owing to the local geography and micro-climate at the time and the protection offered by the size and depth of the cave complex.

Long duration of settlement and relative prosperity and security may also have fostered more complex forms of social organization not re-created until after the last Ice Age; this may explain the apparently formally-arranged groups of humans in some of the images. One of these shows such a group gathered around a flock or herd, possibly for the purposes of division, which may have been unequal, seeing the crown or helmet on one of the figures. Alternatively, it may have been to do with some form of treatment, since the co-habitation of man and animal promotes diseases and pests.

It is possible, therefore, that one of the compound words found beside this image may either have a purely literal meaning or, as Professor Strumpfhosen has controversially suggested, be the world's first example of metaphor: "poli" (many) and "tics" (bloodsucking insects). As the Professor remarks, some things never change.


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I sit on a man's back

I sit on a man's back, choking him and making him carry me, and yet assure myself and others that I am very sorry for him and wish to ease his lot by all possible means - except by getting off his back.

Leo Tolstoy - What Is to be Done? (1886)

Yes I know it's only another quote, but it seems about right for the party conference season.

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Ur-language: "Managers"

Researchers at the E207 Caucasian cave complex, the world's oldest continuously-inhabited site, believe they have deciphered another part of the ancient wall-scratchings in Cave Six.

It has already been established that the Ur-word ancestor of the Chinese word "ma" (no) and Italian/French "ma/mais" (but) is "man", a generalised negative. More difficult, but extremely exciting, are the pictograms that appear to represent abstracts, including the one that is tentatively rendered as "thought" or "reflection".

It is now theorised that the Ur-etymology of "manager" is "man" (not) + "ager" (much idea).


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The Great Leap Backwards

Preparations for the Great Leap Backwards began in October 1927. According to Wikipedia that’s when the first feature film talkie was released - The Jazz Singer starring Al Jolson.

From this small beginning the world changed forever as a number of social trends began to march in step.

Firstly the moving image became an important part of life all over the developed world. Not just for entertainment, but news, information and commentary. Although books had become much cheaper and lending libraries were popular, the moving image gripped its audience in a way books would never emulate.

Cinemas were built in every town, cities had lots of them. Only a few decades later the moving image entered our homes via television. The conquest was complete.

Secondly as the twentieth century progressed and in spite of wars and financial disasters, the developed world began learning how to feed and house even the poorest of its citizens.

These two factors brought out something fundamental about ourselves, an issue we must have missed while still hypnotised by the moving image. Something to do with how we deal with the real world – how those dealings can be subverted by security and physical comfort.

In a way this something is merely the circus of bread and circuses, but much more powerful, intrusive and sinister. As the moving image and comparative prosperity took hold of our lives, intellectual curiosity began to wane.

Today, nearly eighty years after that first talkie, we are losing the urge to know in favour of an urge to be entertained. With it comes a deep-seated love of show and display - a love of theatre. As if life’s edge has been dulled by comfort and prosperity, as if a less basic need slipped into the driving seat while we were queuing up to watch the latest blockbuster at the Odeon or switching on the box for an evening of family entertainment.

Display has always been important to us, as it is with other animals, but without the sharp edge of survival – well the arts of display seem to be all we have left to push us on into our brave new world.

Perhaps we thought intellectual curiosity was enough to spur us on in spite of our full bellies, but apparently not. Curiosity is intimately linked with survival and we’ve dealt with survival. For now. Folk memories of genuine poverty and real hardship are disappearing from the reach of living memory.

The recent Scottish Referendum was pure theatre, rational argument very much noticeable by its absence. Instead we had the unedifying sight of political theatre and its emotional power to get those metaphorical bums on seats. From economic summits to Prime Minister’s Questions, from elections to great debates, it’s all theatre.

Even the mad murderers of ISIL seem to be gripped by a grisly sense of theatre. Black uniforms, sinister headgear and black flags. All theatre. Grim, deadly, insane and even juvenile in some respects, but still theatre.

Science is certainly drifting towards theatre and away from a knowledge culture. Climate change is pure theatre, always was. Take leading actors on the climate stage. Al Gore, Vivienne Westwood, Leonardo DiCaprio, Sting, Emma Thompson... 

Strewth! 

But it's just theatre – nothing else, nothing deeper, nothing demanding, nothing intellectual. Forget the science - the names topping the bill tell you all you need to know about the show. Apart from who dunnit.

Climate impresarios rope in celebrities, fashion designers, artists, pundits and assorted thespians with limited knowledge of the science because they don’t need it. They have their lines off pat. It’s what they do, why they are able strut their stuff on the climate stage without knowing anything worth passing on.

Staying with science - how about physics? Multiverse theories? They look like theatre to me. The vast drama of the cosmos, the thrilling strangeness of untrammelled scientific conjecture, the mysterious depths of untestable notions. Bums on seats matter, even in relatively small and publicly supported theatres such as this.

All the world’s a stage – literally. Yet if people are to be liberally rewarded for acting a part, for learning a narrative instead of the truth, then we cannot use the cold blue light of reason to show us the way to anywhere worth visiting. 

So lots of drama but no happy ending.

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