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Michael Jennings on Fuck the duck until exploded
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Michael Jennings on MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
Friday Night Smoke on MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
Michael Jennings on MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
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- Friday photo-puzzles
- The uniqueness of our microbiome
- Fuck the duck until exploded
- My chance to ride a bus almost as old as me
- The illustrations for Christian Michel’s talk this Friday (plus some thoughts from me)
- In which I quotulate from a photo of a Canadian train
- And now a photo-drone in a London shop window
- MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
- At the Libertarian Home cost of living debate
- The death of email?
- Only with a computer
- Godot nearly ready
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Category archive: Propaganda
Next Friday, October 31st, Christian Michel is giving a talk at my home entitled, somewhat provocatively: “Soviet and Nazi Art as Illustrations of Ayn Rand’s Aesthetics”. He is certainly not the first to have pointed out the overlap, so to speak.
Here’s what Christian says about his talk (which I “LATER” (Tuesday) realised I need to insert into this posting, near the beginning):
Art does not feature high on the libertarian agenda. One exception is Ayn Rand, who declared that of all human products art is perhaps the most important. She went on to develop her own theory of aesthetics, and even attempted (as did Jean-Paul Sartre at the same time) to deliver her entire philosophy through the sole medium of literature (both failed).
In my talk this Friday I will sum up Rand’s aesthetics, her contribution to the field, and will show that it was nowhere better illustrated in the twentieth century than in the arts of National-Socialist Germany and Soviet Russia. The point is not to denigrate Rand’s philosophy by that association, but to say that genuine artists find a way to convey their deepest values and sense of life, to express the highest human aspirations and struggles, whatever their circumstances, and that’s exactly what Rand celebrated.
And here is something of what I think about these kinds of things.
Just after World War 2, many an artist said things along the lines of: after Auschwitz, we cannot any longer do purely representational art. (Similar things were said by classical composers: after Auschwitz, we can’t any longer do pretty tunes.) But the artists had been abandoning pictorial representation (and tunefulness) long before Auschwitz happened, so “Auschwitz” has the air of being a rationalisation rather than the real reason for these artistic trends.
The crimes of Soviet Communism never had quite the same effect on most of the artists, even as an excuse for abstraction, although there were honourable exceptions (Mondrian for instance). Too many artists admired the Soviet Union, especially during and just after World War 2, during its struggle and after victory over Nazi Germany.
Realistic art had also been seriously deranged by photography. Photography destroyed the economic foundations of your average painter of realistic portraits and realistic paintings of such things as landscapes, and turned art painting into a sort of cultural bombsite, in which (to quote the words of an early twentieth century popular song) “anything goes”, anything, that is, except realistic pictures of people and of things. Realism, for the average artist, just made him look like a bad photographer. Even the claim that “art” now had to be an attack on the delusional bourgeois habit of trying to make visual and conceptual sense of the world has the feel, for me, of a rationalisation.
But there is much more to “realism” than mere realism. What looks at first glance merely realistic is often aspirational, and to abandon the field of representational art to the mid twentieth century totalitarians was surely a propaganda error, to put it no more strongly. For the likes of Ayn Rand, this was a surrender by the civilised world that should never have happened.
To point out that Rand favoured images that resembled Nazi and Soviet art is not to accuse her of being a Nazi or a Communist. It is to realise that she did not want the still immensely potent artistic weapon that is representational painting and sculpture to be monopolised by the totalitarians.
All of which is something of how I see (and hear) the kinds of things that Christian Michel will be talking about on Friday. As to what Christian himself will say, well, we shall see, and hear.
Meanwhile, here is an abundance of visual clues as to the sort of aesthetic territory that Christian will be traversing in his talk. It will be an illustrated talk. Here, without identification or further comment, from me or from him, are the illustrations he has sent me, in the order (I assume) in which he will be referring to them.
A few of these images are small enough to fit within the 500 pixel horizontal limit that prevails at this blog, a couple being very small indeed. But most can be enlarged (a little or quite a lot) with a click:
I have already quoted a couple of interesting bits from Bill Bryson’s excellent book, At Home. I have now finished reading this, but just before I did, I encountered some interesting stuff about paint (pp. 453-5):
When paints became popular, people wanted them to be as vivid as they could possibly be made. The restrained colours that we associate with the Georgian period in Britain, or Colonial period in America, are a consequence of fading, not decorative restraint. In 1979, when Mount Vernon began a programme of repainting the interiors in faithful colours, ‘people came and just yelled at us’, Dennis Pogue, the curator, told me with a grin when I visited. ‘They told us we were making Mount Vernon garish. They were right - we were. But that’s just because that’s the way it was. It was hard for a lot of people to accept that what we were doing was faithful restoration.
‘Even now paint charts for Colonial-style paints virtually always show the colours from the period as muted. In fact, colours were actually nearly always quite deep and sometimes even startling. The richer a colour you could get, the more you tended to be admired. For one thing, rich colours generally denoted expense, since you needed a lot of pigment to make them. Also, you need to remember that often these colours were seen by candlelight, so they needed to be more forceful to have any kind of impact in muted light.’
The effect is now repeated at Monticello, where several of the rooms are of the most vivid yellows and greens. Suddenly George Washington and Thomas Jefferson come across as having the decorative instincts of hippies. In fact, however, compared with what followed they were exceedingly restrained.
When the first ready-mixed paints came on to the market in the second half of the nineteenth century, people slapped them on with something like wild abandon. It became fashionable not just to have powerfully bright colours in the home, but to have as many as seven or eight colours in a single room.
If we looked closely, however, we would be surprised to note that two very basic colours didn’t exist at all in Mr Marsham’s day: a good white and a good black. The brightest white available was a rather dull off-white, and although whites improved through the nineteenth century, it wasn’t until the 1940s, with the addition of titanium dioxide to paints, that really strong, lasting whites became available. The absence of a good white paint would have been doubly noticeable in early New England, for the Puritans not only had no white paint but didn’t believe in painting anyway. (They thought it was showy.) So all those gleaming white churches we associate with New England towns are in fact a comparatively recent phenomenon.
Also missing from the painter’s palette was a strong black. Permanent black paint, distilled from tar and pitch, wasn’t popularly available until the late nineteenth century. So all the glossy black front doors, railings, gates, lampposts, gutters, downpipes and other fittings that are such an elemental feature of London’s streets today are actually quite recent. If we were to be thrust back intime to Dickens’s London, one of the most startling differences to greet us would be the absence of black painted surfaces. In the time of Dickens, almost all ironwork was green, light blue or dull grey.
Famously, the rise of the Modern Movement in Architecture was triggered by, among many other things, a revulsion against the excesses of Victorian-era decoration, especially architectural decoration. Decoration became mechanised, and thus both much more common and much less meaningful. What did all this mechanised decoration prove, what did it mean, when you could thrash it out with no more difficulty than you could erect a plain wall?
What the above Bryson quote strongly suggests, at any rate to me, is that something rather similar happened with colour.
Why is the overwhelming atmosphere of Modernist architecture and architectural propaganda so very monochrome, still. Part of the answer is that it was only recently learned how to do monochrome. Monochrome looked modern, from about 1900-ish onwards, because it was modern. Monochrome was the latest thing. Colour, meanwhile, had become much cheaper and had been used with garish nouveau riche excess, and there was a reaction to that also, just as there was to excessive decoration.
Earlier this evening I attended a talk given by Michael Jennings at the Rose and Crown in Southwark. Read Michael’s background briefing about the things he talked about further this evening, either here, or here.
I have friends who seem to revel in having their photos taken, but Michael is not one of them. He entirely lacks vanity, and tends, when being photoed, to have the look of a man worrying about how bad he fears he will look in the photo. So it was that, having earlier been asked for a photo of Michael by Simon Gibbs, the organiser of the meeting, I was only able quickly to find one that was remotely good enough. (You can see it at the other end of the second of the above links.) This evening I made a particular effort to correct this, and here is one of the better shots that I took of Michael this evening:
The most dramatic moment in the evening came when the Putin-echoing stooge Russian lady in the audience (there always seem to be one such stooge at any public event mentioning Russia and its current policies) tangled with Michael on the subject of Poland. Why were the Poles so paranoid about Russia and so keen to join NATO?
Michael replied with a short history lesson that was brief, and crushing. Nazi-Soviet Pact. (The stooge later denied that this had even happened, so Michael later told me.) Katyn Massacre. Warsaw Uprising. (Stalin parked the Red Army outside Warsaw and let the Nazis crush it.) An imposed Communist government, that the Poles would never have chosen for themselves, for the next half century. Final sentence, something like: “If fearing Russia after all that means you are paranoid, then yes, I guess the Poles are paranoid.” Applause. With any luck, this little interchange will be viewable on video, along with the talk itself of course.
Earlier, the lady stooge had waxed eloquent to me, in the socialising period before the talk, about the superiority of Russian education over English education. She had a point. Russian children are indeed made to work far harder at their lessons than English children are these days. But what if the lessons they learn are a pack of lies?
See also this, recently at Samizdata.
On a happier note, I harvested several names and emails of various young, clever libertarians to add to my Brian’s Last Fridays list. A couple of them being, so it seemed to me, of exceptional promise. (I hope that doesn’t sound patronising.) I was particularly impressed by this guy.
I haven’t yet finished showing you photos from that Adam Smith Institute Boat Trip, that I got in on and took lots of photos of, at the beginning of this month, and which I have been showing here, now and again, ever since then. I’m hardly even close.
For instance, it’s taken me three quarters of a month to get around to it, but, of course, there were other photographers present besides me:
I chose these pictures simply because they fitted the bill subject matter wise, and because they look nice. I did not choose them to illustrate any particular point about digital photography.
The result being that they do illustrate a particular point about digital photography. Consider the stats.
There are two regular old school digital cameras to be seen snapping (1.1 and 1.3), three if you count mine. There is also just the one big tablet being used (3.3).
All the other photographers are using mobile phones.
Usually, when I photograph photographers, there are more regular old school dedicated digital cameras to be seen. But this is because I am photographing lots of “photographers”, i.e. people like me, who see themselves as more photography-minded than regular people.
What this boat trip illustrates is how much regular people now use their mobiles to take photos, in among all that networking and connecting and chatting and socialising. It isn’t so much that mobiles have replaced those tiny, cheap digital cameras, although yes it is that, a bit. But it is more that mobiles can now take photos, so now they do. A lot of photos are now being taken that would not have been taken at all, before mobile phones learned how to take photos, by people for whom mobile phones are essential, and photography with mobile phones began only as an extra.
And you can bet that many of the photos that the above people were taking were already flying off into the big www beyond, to work their propaganda magic, promoting the ASI, its Boat Trip, and the people who went on it, before the trip was even over.
Young people these days are quicker off the mark than I am. That’s their job. And being slower off the mark is mine.
The reason to do crowd scenes is to show what a big crowd it was. Yes, it matters who was individually present. But the sheer number of individuals present also counts, a lot. It counts that they are too numerous to count conveniently. Think what some of them might accomplish, in the years to come. The law of averages says it’s bound to add up to something.
Crowd scenes also show the venue, which, if impressive, ought to register in the photos taken. And could there be a more impressive venue than London on a fine evening, from the river? Earth has not anything to show more fair.
What’s that you say? One of these pictures is just a head shot? Not a crowd scene, you say? Look again.
Yes, here are yet more snaps I snapped on that boat trip. This time they are not of people posing in groups, but of individuals, if not on their own, then photoed on their own by me. Other people are strictly background:
The point of these pictures, for me, is not who the people are, simply that I like the pictures. But, for the record, the one’s whose names I know are: 1.1 Damien, 1.2 Noreen, 2.3 ASI Co-Supremo Madsen, 3.1 Mr Devil’s Kitchen, 3.3 ASI Junior Supremo Sam. If anyone knows others, please comment accordingly.
Once again there is a propaganda message here. As well as adding up to a happy and companionable movement, these people include some very interesting separate, individual people, distinct characters. What I like to think these pictures get across is how clever these people are, as well as good humoured and good fun.
The light in these pictures was not perfectly handled, nor was it in the previous batch of photos from this trip, of people posing in groups. But photoshop (or whatever you personally use) is a wonderful thing, and great pictures can be extracted from very average ones these days with no great strain, the way only fictional spies used to be able to do.
Besides which, I really like 3.2, of the young woman next to the no smoking sign. I think all that light and shadow makes her look really good. Okay, it wouldn’t do as a portrait, and it certainly wouldn’t do as a passport photo, but as a picture in its own right, I like how it came out. She looks intelligent, I think. Not that she didn’t to begin with, but you get my point.
In general, I think it creates a far better photographic atmosphere to have lots of light splashing around everywhere, even if that sometimes makes for somewhat unsightly shadows and badly lit faces. The point is not: these are great photos, artistically speaking (even though some of them are pretty good even from that point of view). The point is: it was a great boat trip, and everyone had great time.
I also think that bridges, which I like for their own sake, make good backgrounds for head shots.
The key moment for me on that boat trip came near the beginning, when Eamonn Butler, Joint Head Person of the Adam Smith Institute asked me to send in any good photos that I took.
Until that moment, I had not been sure whether photography was really tolerated, let alone encouraged. But I took that as an invite to snap away all evening. (It wasn’t that really, but that’s how I chose to interpret it.)
The bread-and-butter shot when photoing occasions like this one is the posed group. People in groups, who are friends, or who are maybe becoming friends, and who know that they are being photographed, are duly photographed, resulting in pictures like most of these ones:
Photos 1.1, 2.3 and 4.2 don’t quite fit the posed group template, because here the people in the shot aren’t posing for it, merely being photoed. But the message is much the same. Here are some attractive, intelligent, companionable young people, having a good time in each other’s company. They believe in libertarianism and free markets, and are going to make that count for something in the years and decades to come. Socially isolated human atoms they are not.
3.1 is also a bit of a departure from the norm, but you want a bit of craziness at such events. If absolutely everyone is being nice and polite and well behaved, then it ain’t a proper party. Once again, Mr Arm Tattoo (the previous posting in this series featured that same Arm getting itself a drink) contributes a bit of quirkiness and danger to the event. When I was a kid, only self-declared professional criminals had tattoos like that, or so I was raised to believe. At best, people who worked at fair grounds. Those days are now long gone.
PLUS, from the comments on the piece (first link above), from the writer of the piece himself:
Invoking Godwin’s Law is the type of thing Hitler would do.
ASI Boat Trip 3: Drink!
Will England get lucky?
Last night at my place
Anton Howes – James Lawson – Will Hamilton
Nothing from me here today
Well that’s a relief
Green screen blue screen
Remembering another Christian name (and flagging up another talk)
Alex Singleton at the ASI last night
Making sense of digital photography
The next five Brian’s Last Fridays
Quotes of the day
Me and the Six Nations under the weather
Better a year late than never
The Qur’an is not science – science cannot be ignored
Brian’s Fridays will resume on the 25th of this month
Is Samizdata in danger of becoming a photo-blog?
Don’t vote Democrat!
Reasons to think Romney is going to win big
How gun control works and how it will defend Libertaria
Why I do not share Johnathan Pearce’s admiration for Bjorn Lomborg
Say it again Perry
A review of Detlev Schlichter’s new book (multiplied by 4)
Release Ai Weiwei
Rally Against Debt signs
Pictures of Detlev Schlichter
Soviet health and safety posters
Yet more redirection
Greenies make a video saying: “We’re a bunch of vile greenie-nazis!”
Tim Evans looking happy
Spare A3 paper
Castro slams Israel
As strong and sweet as the free market itself
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This is not Mohammed
Incoming from Molly Norris!
Molly Norris was just kidding!
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Why my libertarianism has the look and feel of socialism
SAY NO TO GOVERNMENT MOTORS
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Antoine Clarke talks about Facebook and Twitter – Guido and … Ian Geldard?
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Hislop fluffs the rhyme
Patri Friedman versus Chris Tame
Signs of the times in Belfast
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Kevid Dowd video now up and watchable
Photoing the Police
Meme for the New Depression
Billion Monkeys liked photoing the nastiest poster!
My Oxford talk on Google video – or summarised by a friendly blogger
Preparing for Oxford
Blogging elsewhere and talks elsewhere
Media bias as asset stripping
Tom Burroughes on the banking crisis
Notes on libertarian tactics August 2008
Keith Windschuttle on history - truth - Robert Hughes
Art is always a value judgement
Those were the days and these are no longer the days
“Better value on goods and services across a wide range of categories …”
Paying a visit to Mum
Ed Smith on how baseball defeated cricket in America
Not very ephemeral
Moore versus Stossel on Cuban medical care
“At that moment I suddenly started to view Nagi as an enemy …”
Has global warming stopped?
Billion Monkeys and a Real Photographer at the Golden Umbrellas
Breaking the Left’s stranglehold on the moving image
Links to me elsewhere – and a photo of Marc-Henri Glendening
Bush on Cuba
Talking with Antoine Clarke about Sean Gabb
Will China fail?
Che Guevara was a murderer and your T-Shirt is not cool
Links and guns
Ideas and opportunities
On the appeal or lack of it to Young Europeans of “capitalism”
The (very) slow fade of Bolshevik Cuba
How compulsion deranges the spreading of ideas
“What do YOU think?” - “More -isationisation!”
How to handle the complaints of your fiercest critics
Some plain English
The Great Global Warming Swindle debate now begins
On the ideology of the “climate change” debate
But what is so evil about Powerpoint?
Perry de Havilland on the thinking behind Samizdata
Cute jewelry and ideologically induced woe
The extreme memes spread by moderate Muslims
Patrick and Brian mp3 about libertarianism and spreading libertarianism
Latest Brian and Antoine elections around the world mp3
Bashing on for Samizdata
Brian and Antoine mp3s now into double figures
Voluntary World 2: You’re on your own
More about rhetoric
Blogging fun and blogging profit
Help the struggle against DRM!
I am not too clever
What The Tyranny of The Facts said
On free trade and on being persuasive (and unpersuasive)