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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

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If it has sentience

it’s being used to protect us? Now that is thoughtful:

Imagine a medical-advice chatbot that lists fewer diseases that match your symptoms, because it was trained on a narrower spectrum of medical knowledge generated by previous chatbots. Or an A.I. history tutor that ingests A.I.-generated propaganda and can no longer separate fact from fiction.

Just as a copy of a copy can drift away from the original, when generative A.I. is trained on its own content, its output can also drift away from reality, growing further apart from the original data that it was intended to imitate.

In a paper published last month in the journal Nature, a group of researchers in Britain and Canada showed how this process results in a narrower range of A.I. output over time — an early stage of what they called “model collapse.”

Apparently, visual artists have been attempting to poison the models for a while now, to the point where they can’t tell the difference between a cat and a cow. Turns out even in Plato’s Cave you need people who know things.

But using itself to replicate itself is, shall we say, projecting deformity.

Hapsburg AI, indeed.

Image: Based on research by Ilia Shumailov and others.

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A target on your front

Georgia misses out on billions to cut climate pollution (sic?), the headline blared. Metro Atlanta failed to secure federal dollars to slash its emissions:

Last year, with the help of a $3 million federal grant, the state of Georgia began developing its first-ever plan to cut emissions of planet-warming gases. With funding from the same Environmental Protection Agency (EPA) program, metro Atlanta drafted a climate road map of its own, too.

The plans were submitted to the federal agency this spring. The hope was to snag a slice of the $4.3 billion the EPA was offering, part of one of the federal government’s largest-ever grant opportunities for curbing heat-trapping pollution.

Let’s peek inside that first-ever plan, shall we? I wonder why the feds didn’t reward for these forward-thinker-lookers:

Peach State Voluntary Emission Reduction Plan

Oh.

Maybe that’s just the title and the plan is really much more aggressive inside, given the stakes not to mention the detestable traffic in that photo:

Strategy 1: Electrify Transportation Sector and Adapt to Mode Shift                                                                                                            Strategy 2: Improve Energy Efficiency and Promote Electrification
Strategy 3: Increase Availability and Use of Renewable Energy
Strategy 4: Improve Waste Diversion and Landfill Management
Strategy 5: Promote Use of Alternative Fuels
Strategy 6: Refrigerant Management
Strategy 7: Advance Conservation and Sustainable Land Use

The media report, and no doubt public officials, characterizes the rejection of federal funds to support this laughably obtuse plan as a ‘snub.’ I mean, where to start? This would have been decent plan had it been pursued in 1982, visionary perhaps. But now? Promote the use of alternative fuels? The absence of the words ‘mass transit’ is a damning indictment by the plan’s second chart, Figure 2, which indicates that the largest percentage of Georgia’s GHG emissions (38%) come from transportation.

Games played by non-serious people. Meanwhile, those voluntarily miserable drivers keep enjoying the scenery.

Les miz, indeed.

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My way, part two

The post below was kind of a set up, because there are so many things like that, and so many things like that are related climate change.

For example, why so many people continue [broken record alert] to buy expensive cars and live so far from work despite the misery eventually produced by both, not just at present, for a very long time now. And yes, these two things are prime exacerbating factors driving climate change and making it worse, inducing despair in those who cannot fathom giving up large vehicles or exurban living and rage against suggestions they consider it. See also, over-crowded ‘lakefront’ developments, especially in the American south, with accompanying overpopulation of large boats and jet skis. If the taste for these things is no longer based on pleasure or necessity, we must unpack. Bourdieu is very helpful here.

Another one – how climate patterns influence where people live and work:

Among the mass migrations in U.S. history: after the Second World War, people left cold Snow Belt states in the Northeast and Midwest for the warmth of the southern half of the country. Americans are still moving south in large numbers, but new research documents some growing appreciation of colder parts of the country due to climate change.

Marketplace’s senior economics contributor Chris Farrell has been looking into this. He spoke with “Marketplace Morning Report” host David Brancaccio. The following is an edited transcript of their conversation.

David Brancaccio: All right, just remind us, 1950s and ’60s in particular — it was from the Snow Belt to the Sun Belt.

Chris Farrell: That’s right, there were a combination of factors. Millions of retirees, they were just fed up with the cold. They went for the warmth and recreational activities of the Sun Belt. Defense companies rose alongside military bases in the region. Established northern industries looking for cheap, nonunion labor shifted operations south. Agricultural businesses boomed, thanks to new farming techniques. So if you take a step back, David, newcomers were attracted by the region’s low cost of housing, the growth in job opportunities, low taxes and warm weather. And the widespread adoption of new technologies like air conditioning made the hot climate bearable.

So…. to bring it all together, that was broadcast on a radio program. What if you were listening to that report on your commute in your large automobile? Does it spark… anything? Bueller?

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Comme d’habitude

Pierre Bourdieu on taste, as luxury vs. necessity:

The true basis of the differences found in the area of consumption, and far beyond it, is the opposition between the tastes of luxury (or freedom) and the tastes of necessity. The former are the tastes of individuals who are the product of material conditions of existence defined by distance from necessity, by the freedoms or facilities stemming from possession of capital; the latter express, precisely in their adjustment, the necessities of which they are the product. Thus it is possible to deduce popular tastes for the foods that are simultaneously most ‘filling’ and most economical from the necessity of reproducing labour power at the lowest cost which is forced on the proletariat as its very definition. The idea of taste, typically bourgeois, since it presupposes absolute freedom of choice, is so closely associated with the idea of freedom that many people find it hard to grasp the paradoxes of the taste of necessity. Some simply sweep it aside, making practice a direct product of economic necessity (workers eat beans because they cannot afford anything else), failing to realize that necessity can only be fulfilled, most of the time, because the agents are inclined to fulfill it, because they have a taste for what they are anyway condemned to. Others turn it into a taste of freedom, forgetting the conditionings of which it is the product, and so reduce it to pathological or morbid preference for (basic) essentials, a sort of congenital coarseness, the pretext for a class racism which associates the populace with everything heavy, thick and fat. Taste is amor fati, the choice of destiny, but a forced choice, produced by conditions of existence which rule out all alternatives as mere daydreams and leave no choice but the taste for the necessary.

Doesn’t quite explain why people eat chickfila who don’t have to – or does it?

Full text

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Remarkable and glaring

Take the frog in boiling water apologue.

The extent to which we notice general goings on and are able to get used to them – acclimate, if we’re looking for a poor word choice – remains a much greater, darker mystery than the fable of the mythical frog. Still, perceiving danger and saving oneself, one’s country and compatriots needs a bit of  a reset.

Slender appetites for suffering but no end of explaining away those who explicitly promise more nightmares. The kind of true that some desire the worst of everything if it will hurt others elicits a shrug, or even shrewdness toward toward their understanding. It’s an opinion you can understand enough to pity, though it must be appreciated enough to fight. Not correct, but confront and conquer. Comprehending simple minds bent on retribution meets an unmovable force in climate change. Misogyny, too, has an endgame.

There is no gradual increase in this temperature. You may wake up today and note that you are in boiling water, but there has been no creeping authoritarianism, slowly appearing right under your nose. All along, individuals chose not to notice – or celebrate its arrival, let’s be honest. The rationalized-away digression of what on some level was accepted as agreeable was approved as such. More please, we were actually demanding.

But the magnitude by which we choose bewilderment instead of joy, fiery passion and benevolence is all on us. Seek no refuge in ‘how could we have known?’ Wonder instead why we did not and begin to paddle toward others, recognize salvation.

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Not adding up

In fact, it is adding up. Way too up:

Google has reported that, since 2019, its emissions have grown by 48 percent, an enormous increase that reflects the vast amounts of energy used by artificial intelligence.

A.I. models run a huge number of calculations in short order, taxing computers and driving up energy consumption. “As we further integrate AI into our products, reducing emissions may be challenging due to increasing energy demands,” Google said in its report, released Tuesday. The surge in emissions puts the tech giant further away from its ambitious goal of zeroing out carbon footprint by 2030.

Google is not alone. Microsoft, which is also integrating A.I. into its products, has seen its emissions jump by 30 percent since 2020. It too has a goal of reaching net zero emissions by the end of this decade.

In its report, Google said that it is adopting practices that could dramatically reduce the energy needed to train an A.I. model. It also said that it is using A.I. to tackle climate change in three key ways: by guiding drivers along more fuel-efficient routes; by helping city engineers adjust the timing of stoplights to speed the flow of traffic; and by providing advanced flood warnings to people in more than 80 countries.

Still, the climate impact of A.I. is considerable. Google and Microsoft now have larger carbon footprints than Slovenia.

The marketing hype around A.I. that is far outstripping its current utility also perfectly elides its most profound impact: the electricity required for supercomputing. This gluttonous energy need is hard to overstate – making it very difficult to comprehend – and should be among the primary concerns about A.I., on par with its nefarious effects on news/entertainment, creative pursuits, and surveillance.

So, Siri, is A.I. scary, or just frighteningly impractical?

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content /kənˈtɛnt/ • adjective

Whether adjective (in a state of peaceful happiness), verb (soothe), or noun (a state of satisfaction), the appropriate use and pronunciation of ‘content’ is  /kənˈtɛnt/

Ahem. This is known. Don’t be suckered into micro-sizing your efforts into a generic descriptor thereof.

Along the same lines, it should also be apparent that people only need to be as corporate and sanitized as they agree to be.  While in times of deceit this might be construed as a revolutionary act, self-deceit about the meaning and matter of it all can be as devious as any other form. Remember all the space afforded you, the dark nights and struggles before yours that produce the light that warms you now, that allows you to see. There’s a gem of a reminder by Susan Neiman in the NYRB, reassembling the thinking of and about Frantz Fanon:

tribalism is the simplest form of social organization. It takes an act of abstraction to become a universalist; to see the possibility of common dignity in all the weird and gorgeous ways human beings differ is an achievement we’ve forgotten how to celebrate.

Allow yourself to pull away from tendencies not your own.

Image: Author photo, Hudson River sunrise.

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Gradual familiarization

A time to mention, quite a time to live. We see, we illustrate, we experience, we relate, we leave it for later when we should probably jot a few things down first.

Via The Paris Review, Theodor Adorno speaking about the effects of televised music – From an interview in Der Spiegel (February 26, 1968).

SPIEGEL

The culinary element seems to us to be especially prominent in music broadcasts. A candlelit Karajan and Menuhin concert framed by the plush furnishings of a Viennese salon; Bach passions and cantatas in the obvious setting, a baroque church. As the distinguished vocal soloist is singing his part …

ADORNO

The listeners make furiously sorrowful faces …

SPIEGEL

… And the camera fondles lovably chubby-cheeked putti and Madonnas. Is this acceptable?

ADORNO

It’s horrible, the worst sort of commercialization of art. Here the mass media—which precisely because they are technical media are duty-bound to forgo everything unseemly and gratuitous—are conforming to the abominable convention of showcasing lady harpsichordists with snail-shell braids over their ears who brainlessly and ineptly execute Mozart on jangly candlelit ancient keyboards. I think it’s more than high time for purging the mass media of all this illusional kitsch and of the whole Salzburg phantasmagoria that’s forever haunting it. … It engenders an absolutely inadmissible image, above all because here an illusional element also supervenes; it’s as if one were present at some sort of shrine where a unique ritualistic event were being enacted in the hic et nunc—a notion that is completely incommensurable with the mass reproduction that causes this same event to be seen in millions of places on millions of television screens. … One can never shake the feeling that such things must be regarded as grudgingly doled-out servings of schmaltz within the politics of programming, wherein the so-called desires of the public, which I have absolutely no inclination to gainsay, are oftentimes employed as an ideological excuse for feeding the public mendacious rubbish and kitsch. I would also include in this kitsch the kitschified production styles applied to the presentation of so-called—I might have almost said rightly so-called—classic cultural artifacts.

SPIEGEL

Take for example Brahms’s German Requiem on the second channel. The images concurrently broadcast with it were of trees, forests, lakes, fields, monuments, and cemeteries.

ADORNO

The acme of wanton stupidity.

SPIEGEL

Professor Adorno, a pedagogical argument is also always trotted out in connection with this. According to this argument, televised music gives consumers a preliminary introduction to the work and thereby stimulates them to attend concerts or opera performances in person. What do you think of this kind of musical therapy?

ADORNO

It’s wrong. I don’t think there’s any such thing as a pedagogical path to the essential that starts out by getting people to concentrate on the inessential. This sort of attention that fixates on the inessential actually indurates; it becomes habitual and thereby interferes with one’s experience of the essential. I don’t believe that when it comes to art there can ever be any processes of gradual familiarization that gradually lead from what’s wrong to what’s right. Artistic experience always consists in qualitative leaps and never in that murky sort of process.

Image: Robert Rauschenberg Canto XIV: Circle Seven, Round 3, The Violent Against God, Nature, and Art, from the series Thirty-Four Illustrations for Dante’s Inferno1 959-60