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Chimurenga – who no know go know

Along with promoting some recent work, a new project is making clips from my Unscripted interviews available on social media. One of those we’ll get to eventually is with journalist and DJ Ntone Edjabe, founder and editor of Chimurenga, an innovative platform for free ideas and political reflection by Africans about Africa.

And this is one of the rare, correct uses of ‘innovative’ as an adjective. in newspaper form, the issues have a little of everything – poetry, photography, plays, terrific writing of all kinds and of course, news. However,  and I only started to understand this much later and not especially because of the times we are a’living in, Chimurenga’s journalism often presents news stories long after actual events. That is, rather than so-called breaking news – which honestly leaves us mostly flummoxed and discombobulated by its sheer volume (not to speak of those who work the sheer volume for their purposes, ahem) – Chimurenga presents news much later. Maybe more information has come available, maybe people still don’t understand a thing that happened… does this sound familiar?

It really changes the idea of news into information for action and understanding.

A sample of the excellent writing, in an article by saxophonist and composer Shabaka Hutchings:

In a lecture he gave on Afrofuturism, Kodwo Eshun used a phrase which resonated with me – “encoded language”. I believe there is an alternative vernacular present in both hip-hop and jazz which relates the two musics intrinsically, and which exists outside the orthodox analysis. This idea that music has layers of encoded information, passed down through generations, without explicit acknowledgement even from the participants, fascinates me. It speaks to the question of why certain elements of African musical stylings are propagated by the diaspora. Are there more stories within musical elements which survived the middle passage than we choose to admit? Are we in a position to grasp the meanings of these tales? Maybe the formulation of new myths is a valid way of approaching these questions, if only for the creative stimulus imagined answers can inspire.

Let us then try to explore the worlds of both jazz and hip-hop as vessels for an informational network outside the parameters of pre-packaged discourse. What happens when you take away the notion of harmonic movement in jazz as being central to its intrinsic meaning or the message the improvising soloist has to offer? What happens when you take the focus away from lyricism in hip-hop?

Yes, we could learn a thing or three – and wow do we need to. There’s so much more to all of this – and take that however you want. Chimurenga is supported by donations, if you are able. My interview with Edjabe is here.

Image: an issue of Chimurenga I keep in my office.

 

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Evangelical A.I.

The SV pinheads just haven’t thought of that yet, but just wait. It’s going to be gross.

And while we all luxuriate in behavior modification and finding ways to excuse, forgive, or hide your glee, as the case may be, about all the destruction of systems and open bigotry being given full reign in this glorious moment, just a word: don’t be so quick to be quiet quitting your opposition to autocracy.

It’s great that we’ve gotten socialized to these terms – and to be clear, it’s not great and terms like that are garbage notions as much as anything. Not helpful or conducive to happiness.

Rather, it’s always in your interest to stand up for groups or people or a person under attack. Find a small thing to have courage about and build on it.

video: friends say.

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Stunning-Kruger-incidence

This is perhaps over-determined, but how were we to know? Is it just the mildest coincidence that just when critical thinking skills are at their most needed, a mysterious and mostly useless tool is helping us file-down any remaining sharp points and edges?

A new paper from researchers at Microsoft and Carnegie Mellon University finds that as humans increasingly rely on generative AI in their work, they use less critical thinking, which can “result in the deterioration of cognitive faculties that ought to be preserved.”

“[A] key irony of automation is that by mechanising routine tasks and leaving exception-handling to the human user, you deprive the user of the routine opportunities to practice their judgement and strengthen their cognitive musculature, leaving them atrophied and unprepared when the exceptions do arise,” the researchers wrote.

I’m convinced that key ironies need to be mandatory elements of all strategic planning documents going forward, numerated AND annotated. Making dumb dumber and lazy lazier is sufficiently opportune that making us softer and doughier, paired nicely with a ’54 magnum of News You Can Trust and a much more recent vintage of doing your own research, births the inevitability of powerlessness. Aside from the button that releases the treats, of course.

The charge is that the hard work of cowing a populace to submit to not notice authoritarianism is far easier than imagined, and especially when people allow themselves to be confused about the difference between important things and trivialities.  When you’re not sure how to watch out for what you don’t know you need to watch out for, please note the lack of passive construct before proceeding.

Image: Discreet nose. Fruity. Smoke. Suave and rounded on the palate, almost sweet.

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His Air was on Fire

I saw this show of paintings, sound installation, and short films by David Lynch in Paris in 2007, by far the most hilarious art show I’ve ever enjoyed:

Lynch started out as a painter at Pennsylvania Academy of Fine Art way back in 1966, and famously moved to making short abstract films, which he calls “moving paintings”, when he saw one of his canvases moving in the wind. With the money he made from his first private commission while still an art student, he bought a Bolex Super 8 camera.

Given the almost accidental nature of his move into film-making, would he ever have been satisfied had he remained a painter? “Oh yes,” he says, without hesitation, “for sure. That’s all I wanted to do for a long time. Just paint. But, suddenly, now there was film. This big thing.”

THE ground floor at the Fondation Cartier is devoted to Lynch’s paintings and drawings, the latter of which number in the region of 400, and some of which seem to date back to his college days.

“I hadn’t seen a lot of this stuff for a long, long time,” Lynch drawls, “and it made me realise that it’s actually a very good thing to see old work again. Some of the stuff that came out of storage really fired me up. I really don’t know where it will lead but it sure feels good.”

Over the last few years Lynch has been painting several series of nightmarish landscapes, each peopled with vague shapes in opaque, dusky landscapes. One such series is called the Mr Jim Series another, the Bob Series, perhaps inspired by his love for the Bob’s Big Boy restaurant in Los Angeles where he used to breakfast daily on “four, five, six cups of coffee – with lots of sugar”. He’s since given up sugar as a creative catalyst but his vision remains somewhat frantic.

We both stare at a work called Bob Burns Tree. I ask him to talk me through its gestation.

“Well, it’s called Bob Burns Tree ,” he says, pointing to the Bob figure and then to the tree. “I knew from the start it was going be about, well, Bob burning a tree. I started with that idea and I kind of stayed with it. Yep.”

So good. Writing in paintings, normally abhorrent, sat with a kind of sang-froid alongside jeans that had been run over multiple times by a car, next to plaintive flat-space ear-marked for ill by the master with his own hand. I mean.

And then you would catch the sound loop running throughout the skeletoid building, akin to holding a stethoscope on the chest of gun factory.

Thank you and godspeed, sir.

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Revolution, not resolutions

I say this often and it’s frankly not the best note to end the year on, but we are the most coddled people in the history of people. Or maybe it is a good note – liberating to realize just how trivial are so many of our chains.

Drone panics. Cruise ships, generally. Online gambling. Vaccines: How do they work? Masks: you’re not the boss of me!

Meanwhile, the inability to even countenance any sort of reckoning with the climate crisis as it is in motion and been in view for three decades represents just a haunting boredom. Nothing else to do, all needs met, no entertainment quite good enough, hey – let’s allow the most craven, unqualified people imaginable to be in charge just to see what happens.

Kundera, The Book of Laughter and Forgetting:

Just as someone in pain is linked by his groans to the present moment (and is entirely outside past and future), so someone bursting out in such ecstatic laughter is without memory and without desire.

All churches, all underwear manufacturers, all generals, all political parties, are in agreement about that kind of laughter, and all of them rush to put the image of the two laughing runners on the billboards advertising their religion, their products, their ideology, their nation, their sex, their dishwashing powder.

To see the devil as a partisan of Evil and an angel as a warrior on the side of Good is to accept the demagogy of the angels. Things are of course more complicated than that.

Things deprived suddenly of their supposed meaning, of the place assigned to them in the so-called order of things (a Moscow-trained Marxist believing in horoscopes), make us laugh. In origin, laughter is thus of the devil’s domain. It has something malicious about it (things suddenly turning out different from what they pretended to be), but to some extent also a beneficent relief (things are less weighty than they appeared to be, letting us live more freely, no longer oppressing us with their austere seriousness).

If you go away from a row, you can still come back into it. A row is an open formation. But a circle closes up, and if you go away from it, there is no way back. It is not by chance that the planets move in circles and that a rock coming loose from one of them goes inexorably away, carried off by centrifugal force. Like a meteorite broken off from a planet, I left the circle and have not yet stopped falling.’

Between austere seriousness and falling, find a place to dig into the oppression – and your role in perpetuating it. How does a better you relate to a better world? If that’s an embarrassing question, we’re too scared of humiliation and hide behind the wrong things that never saved anyone. Don’t be afraid to get it wrong; try something not in the book. There is plenty that should be rejected, just find somewhere to start.

Pro tip: It’s always the night before Christmas.

Image via Bloomberg, but they’re only the messenger.

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Petty Persuasion

Repeat, rhyme. Third verse, same as the first.

The Eighteenth Brumaire of Louis Napoleon, an essay written by Karl Marx originally published in 1852 under the title Die Revolution, focuses on the 1851 French coup d’état, by which Louis-Napoléon Bonaparte, president of the Second Republic and Napoléon Bonaparte’s nephew, became emperor of the Second French Empire as Napoleon III. It seeks to explain how capitalism and class struggle created conditions which enabled “a grotesque mediocrity to play a hero’s part.”

The English title simply refers to the date of the Coup of 18 Bromaire, per the French Republican calendar. From page 45 of Part III in my hymnal:

As against the coalesced bourgeoisie, a coalition between petty bourgeois and workers had been formed, the so-called Social-Democratic party. The petty bourgeois saw that they were badly rewarded after the June days of 1848, that their material interests were imperiled, and that the democratic guarantees which were to insure the effectuation of these interests were called in question by the counterrevolution. Accordingly they came closer to the workers. On the other hand, their parliamentary representation, the Montagne, thrust aside during the dictatorship of the bourgeois republicans, had in the last half of the life of the Constituent Assembly reconquered its lost popularity through the struggle with Bonaparte and the royalist ministers. It had concluded an alliance with the socialist leaders. In February, 1849, banquets celebrated the reconciliation. A joint program was drafted, joint election committees were set up and joint candidates put forward. The revolutionary point was broken off and a democratic turn given to the social demands of the proletariat; the purely political form was stripped off the democratic claims of the petty bourgeoisie and their socialist point thrust forward. Thus arose social-democracy. The new Montagne, the result of this combination, contained, apart from some supernumeraries from the working class and some socialist sectarians, the same elements as the old Montagne, but numerically stronger. However, in the course of development it had changed with the class that it represented. The peculiar character of social-democracy is epitomized in the fact that democraticrepublican institutions are demanded as a means, not of doing away with two extremes, capital and wage labor, but of weakening their antagonism and transforming it into harmony. However different the means proposed for the attainment of this end may be, however much it may be trimmed with more or less revolutionary notions, the content remains the same. This content is the transformation of society in a democratic way, but a transformation within the bounds of the petty bourgeoisie. Only one must not get the narrow-minded notion that the petty bourgeoisie, on principle, wishes to enforce an egoistic class interest. Rather, it believes that the special conditions of its emancipation are the general conditions within whose frame alone modern society can be saved and the class struggle avoided. Just as little must one imagine that the democratic representatives are indeed all shopkeepers or enthusiastic champions of shopkeepers. According to their education and their individual position they may be as far apart as heaven and earth. What makes them representatives of the petty bourgeoisie is the fact that in their minds they do not get beyond the limits which the latter do not get beyond in life, that they are consequently driven, theoretically, to the same problems and solutions to which material interest and social position drive the latter practically. This is, in general, the relationship between the political and literary representatives of a class and the class they represent.

Directing history from the grave, indeed.

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Jimmy Carter, man of a century

Happy 100th Birthday to Jimmy Carter, an amazing milestone for one of the most inspiring Americans with whom we could ever share the planet. As we do this day – what remarkable longevity for a cherished soul with a conscience that can move mountains. There’s probably a lesson in their somewhere. I’ll share another one I heard from him firsthand:

On a weekend visit to my in-laws in South Georgia, we rounded out the family time with something we had always heard about but never done: attending a Sunday School class taught by an ex-president.

It was a beautiful morning, and we made the eight-mile drive from my in-laws’ farm to Plains and the Maranatha Baptist Church, where Jimmy Carter holds forth about one Sunday morning a month. An excellent Squeeze song came on just as we entered town and the speed limit dipped to 35. A couple of blocks past the main drag, Maranatha sits in a pecan orchard just off Highway 45. On a Sunday morning when Carter is in town, there are far more cars than the small country church would normally boast. You can’t miss it.

No one seems too put out by the local deputies parked near the road nor the Secret Service folks at the church entrance—very civilized, only one metal-detector wand. Firm, but fair. We think we’re early, but as we walk up to and enter the back doors, the former president is already talking, asking the crowd of maybe 175 to tell him where they are from—and what religious denominations they profess. We dodge a videographer in back and take up an empty pew a couple of rows further up. The church is nearly full, but there is room.

He’s at the front but not in the pulpit, conversing with the crowd like it’s his natural state. And it must be. The former president is in his 80s and, from the back of the room, both looks it and doesn’t. In his jacket and bolo tie he is at ease and in command. He asks how many of the assembled have traveled to Cuba: one. Then, how many would like to: hands go up all over the room. He tells us that he and Rosalyn have just returned from there and what a mistake it was for the U.S. to have isolated Cuba via embargo all these years. While there, he met with prisoners, wives and mothers of Cubans held in the U.S., as well as members of the thriving Cuban-Jewish community in Havana—which, he reported, is in need of a rabbi. He also met with Raul and with Fidel, who, he reports, is recovering from his intestinal problems quite well. Candid, humble and witty, Carter shares these details not like they are in confidence or evidence of his importance, but simply as one might news of people one had visited while away.

With a word, but little more, of his upcoming trip to North Korea, he seems to have fulfilled the requirement of answering for himself and what he’s been up to, and moves toward the lectern down front and his lesson.

Read the rest…

Image: Nelson Mandela, left, and former President Jimmy Carter, right, hold HIV-positive babies at the Zola Clinic in Soweto in March 2002. ILLUSTRATION: Associated Press

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What does C L R James mean?

The West Indian Intellectual C L R James (born in 1901, Trinidad) provided an insightful assessment of democracy in the U.S., ‘Notes on American Civilization’ (1950). ‘I trace as carefully as I can the forces making for totalitarianism in modern American life,’ he explained.

Carefully or not, the explanation has apparently been grossly, and repeatedly mischaracterized and misunderstood ever since, as unpacked in this essay:

At the climactic centre of this ominous analysis was the contemporary entertainment industry, which, James argued, set the stage for a totalitarian turn through its projections of fictional heroic gangsters as well as its production of celebrities as real-life heroes. A manufactured Hollywood heroism, he warned, had the potential to cross over from popular culture to political rule. ‘By carefully observing the trends in modern popular art, and the responses of the people, we can see the tendencies which explode into the monstrous caricatures of human existence which appear under totalitarianism.’ Completed in early 1950, James’s proposal remained underground for decades until it found publication under the abbreviated title American Civilization in 1993. Four years earlier, the author had passed on into history as one of the finest minds of the 20th century.

At the base of this ignorance is a 30-year-old tale of radical misreading. Beginning in the 1990s, commentaries on American Civilization have erased its concern with the dark cultural politics of totalitarianism, dismissing the manuscript as quixotic and optimistic, even embarrassingly romantic. James, according to reviewers, fell for the US with the naive zeal of what Trinidadians would call a never-see-come-see. This radical was so dazzled by the North American republic that his radicalism disappeared once he sat down to write about its history and culture. In American Civilization, James was ‘enthusing with the greatest passion about the democratic capacity of the civilization with which he had fallen in love,’ the UK-based historian Bill Schwarz wrote. In a review for The New Yorker, Paul Berman concurred, describing the work as proof that ‘James basically loved the United States’. Yet, far from love and happiness, the manuscript was inspired, we will see, by a concern with the despair and hopelessness of US citizens and by a worry about the political portent of these mass feelings.

James’s basic contention in American Civilization was that a critical mass of the population had become so desperately distressed by the failure of the promises of liberal democracy that they were prepared to give up on it and elect, instead, to live vicariously through violently amoral political heroes. ‘The great masses of the American people no longer fear power,’ wrote James near the end of the manuscript. ‘They are ready to allocate today power to anyone who seems ready to do their bidding.’ This popular disenchantment with liberalism and the accompanying vulnerability to totalitarian leadership manifested in the entertainment industry, according to James. In films, novels, magazines and comics, he identified a contemporary archive of the cultural politics of totalitarianism – not a source of special affection for the modern republic (James actually trashed much of US popular culture as ‘ephemeral vulgarity on a colossal scale’). For him, moreover, the dire US situation was not exceptional but simply a richer symptomatic case of a modern derangement. The conceit that James was seduced by the achievements of ‘American civilisation’ is one of those strange North Atlantic fictions; one that reveals more about those who study James than about James himself.

Read the entire essay, which is really terrific and uncomfortably on the nose concerning how ‘we’ might conveniently misunderstand polemical, and any, language:

Finally, and maybe most originally, James identified resources for totalitarianism not only in the industry’s projections of fictional protagonists but also in its production of ‘stars’ in reality. Since the Great Depression, he noted, a vital development in popular culture involved the professional packaging of celebrities (Hollywood actors, especially) into ‘synthetic characters’, produced by a ‘vast army of journalists, magazine writers, publicity men, etc’. The rise of these stars concerned James because he believed that through them the masses ‘live vicariously, see in them examples of that free individuality which is the dominant need of the vast mass today.’ Celebrities, he wrote, ‘fill a psychological need of the vast masses of people who live limited lives.’ In this regard, James saw an intrinsic connection between the industrial fabrication of these real-life heroes to be consumed by the admiring masses and the conditioning of the public for totalitarian rule: ‘We have seen how, deprived of individuality, millions of modern citizens live vicariously, through identification with brilliant notably effective, famous or glamorous individuals. The totalitarian state, having crushed all freedom, carries this substitution to its last ultimate.’ The entertainment industry’s heavy investment in the production of stars readied the republic for an antidemocratic regime.

Image: CLR James on New Year’s Eve in 1975 © Val Wilmer