"This is a patient that was very sick.... It went through an operation on Liberation Day, and it's going to be... a very booming country."

"It's going to be amazing, actually.... The operation's over, and now we let it settle in. You see the plants are starting to construction, already. We have many plants — Indiana massive auto plant...."

Do you like the reasoning through analogy? The economy is a person, its supposed problem is a sickness, the tariffs are a surgical procedure, and the patient is in the post-op stage. That might be a difficult stage, with various pains and struggles. Even if this is a good analogy — economies are like human bodies, and tariffs are like an operation for an illness, and the immediate effect is a stage in the recovery from surgery — we still don't know if the right medical treatment was chosen and performed successfully.

For the annals of Things I Asked Grok: "Could you summarize the Susan Sontag book 'Illness as Metaphor' and say whether it has some use in critiquing the above-stated analogy about the economy?"

That book is less about using illness as a metaphor to explain something other than illness and more about using something other than illness to explain illness. From "Illness as Metaphor" (commission earned):

"During the Cold War, we classified entire areas of physics and took them out of the research community—entire branches of physics went dark..."

"... and didn’t proceed. If we decide we need to, we’re going to do the same thing to the math underneath AI."

Said Marc Andreessen, on the podcast "Honestly with Bari Weiss."

Marc Andreessen (@pmarca) says he attended “absolutely horrifying” meetings where Biden’s government vowed to take “complete control” over AI technology:

“They basically said AI is going to be a game of 2 or 3 big companies working closely with the government… We’re going to… pic.twitter.com/REjkfgJkyV

— Honestly with Bari Weiss (@thehonestlypod) December 10, 2024

Here's a transcript of the entire podcast. Excerpt, giving context to the quote above:

These kids today take communism seriously....

I had the honor of sitting down with @elonmusk for an additional hour while we were in Kraków this week. We hit it all: DEI, @SpaceX, aliens, the meaning of life, and how to hold on to the American dream. Watch our full conversation, right here on X: pic.twitter.com/Wh5EC64zde

— Ben Shapiro (@benshapiro) January 25, 2024

"[Authentic Brands Group] has owned [Sports Illustrated] since 2019 and sold the publishing rights to a company called the Arena Group."

"The Arena Group missed a recent payment for those publishing rights, prompting ABG to pull the publishing license.... 'As a result of this license revocation, we will be laying off staff that work on the SI brand,' the note to staff read...."

From "Sports Illustrated lays off most of its staff, threatening iconic brand’s future" (WaPo).

IN THE COMMENTS: There are many variations on "Get woke, go broke" — including "Sports Illustrated Bud-lit itself" (from Ice Nine) — but I like this from Prof. M. Drout:

"The first data on births since Roe v. Wade was overturned shows how much abortion bans have had their intended effect."

"Births increased in every state with a ban, an analysis of the data shows. By comparing birth statistics in states before and after the bans passed, researchers estimated that the laws caused around 32,000 annual births, based on the first six months of 2023, a relatively small increase that was in line with overall expectations.... 'This is an inequality story,' Professor [Caitlin] Myers said. 'Most people are getting out of ban states, one way or another, and more people in protected states are getting abortions. And at the same time, this shows something those data cannot show: There’s a significant minority of people in ban states that do get trapped.'"

From "How Many Abortions Did the Post-Roe Bans Prevent? The first estimate of births since Dobbs found that almost a quarter of women who would have gotten abortions carried their pregnancies to term" (NYT).

Here's an interesting comment over there:

"Casino owners discovered in the late 1980s that people who gambled on screens became addicted three to four times faster..."

"... than those who gambled at tables. The rest of America had learned that lesson by 1992, when a third of homes had Nintendo systems. Men without jobs have video games the way men without girlfriends have pornography, and growing numbers of men are finding the substitute good enough to be going on with, declining to pursue either permanent employment or marriage. The historian David Courtwright calls this 'limbic capitalism,' the redirection of America’s productive energies into inducing and servicing addictions."

From "Boomers/The Men and Women Who Promised Freedom and Delivered Disaster" — a 2021 book by Helen Andrews (and I earn a commission if you buy it using that link).

Here's a 2019 Vox interview with Courtwright. Excerpt: "I make a distinction between ordinary capitalist enterprises like companies that sell people rakes or plows or nails or whatever.... But I think of limbic capitalism as capitalism’s evil twin, a really cancerous outgrowth of productive capitalism. There is a certain class of brain-rewarding products that lead to a form of pathological learning that we call addiction...."

"Haaning's new work Take the Money and Run is also a recognition that works of art, despite intentions to the contrary, are part of a capitalist system..."

"... that values a work based on some arbitrary conditions. Even the missing money in the work has a monetary value when it is called art and thus shows how the value of money is an abstract quantity. Haaning's new work Take the Money and Run is also a recognition that works of art, despite intentions to the contrary, are part of a capitalist system that values a work based on some arbitrary conditions."

Said the Kunsten Museum's exhibition guide, about the 2 completely blank canvases it chose to display, quoted in "A Danish artist has been ordered to repay a museum after delivering blank canvases" (NPR).

The museum had advanced Jens Haaning over $75,000 so that he could recreate an earlier work of his in which he attached actual cash to the canvas. In that earlier work, the money was supposed to represent the wage gap between Danish workers and Austrian workers. Haaning is considered a "conceptual artist," and the new work expresses a concept that the museum made a show of understanding (or pretending to understand).

"It seems Ice Cube has become quite the conservative media darling lately, sitting down with not just Carlson, but Joe Rogan and Piers Morgan as well."

"He’s joining a long list of rappers – Kanye West, Da Baby, Kodak Black, Lil Pump – who have all put themselves in dangerous proximity to conservative politicians even as rightwing populism threatens to destroy their communities.... So what do these rappers have in common with rightwingers who wouldn’t otherwise touch them with a 10ft pole? Shared values. In discussions about money, gender identity, public health and a variety of social issues, rappers and rightwingers have a lot more in common than you’d immediately think. Many people from both groups share hypermasculinity, conservative Christian values, and a distrust of social institutions (justified or not); and on this common ground sits a messy and dangerous alliance full of people who ordinarily would hate each other, but have come together to make vulnerable people their enemy...."

Writes Tayo Bero in "Why are Black rappers aligning themselves with the right? Ice Cube has joined a long list of rappers who have cuddled up with conservative pundits and politicians" (The Guardian).

"'F*** the rich. F*** the police. F*** the state. F*** the colonial death camp we call 'Canada.'"

Wrote Gabriel Sims-Fewer, owner of pay-whatever-you-want café, The Anarchist, quoted in "Go woke, go broke: Toronto 'anti-capitalist' anarchist café where customers 'pay what you can' shutters after a year after failing to make enough money. Owner slammed cops as 'pigs' and late Queen as a 'parasite'/The Anarchist in Toronto, Canada has shuddered after a year in business/The cafe had a 'pay what you can' model and was 'anti-capitalist/Shop's owner cited 'lack of generational wealth/capital seed' as the reason" (Daily Mail).

I love the notion that the café had such depth of feeling that it "shuddered." When capitalist-pig owned places go out of business, they merely shutter.

That's the only reason I'm blogging that too-predictable news. Well, that and the fascinating phrase "the colonial death camp we call 'Canada.'" Canada normally flies under the radar, following the strategy of inconspicuousness that works all too well in this crazy world.

10 days ago on this blog, we looked at the question "Why wouldn't most people decide the best way to live is to be as inconspicuous as possible?" 

Do pay attention to inconspicuous things. And when you see them, don't be afraid to offset their inconspicuousness by using hyperbole. Phrases like "the colonial death camp we call 'Canada'" can help people think more deeply about things.

Or would you rather bray at obvious things like the way pay-whatever-you-want cafés go out of business?

"When psychologists asked what sort of habits and choices were markers of creativity, they came up with things like 'divergent thinking' and 'tolerance for ambiguity.'"

"They reported that, on tests, creative people preferred abstract art and asymmetrical images. ... [T]hose preferences also happened to match up with the tastes of the mid-century educated classes. To put it a little more cynically, the tests seem to have been designed so that the right people passed them.... [In 'The Cult of Creativity,' Samuel W.] Franklin argues that the appeal of workplace creativity was that it addressed two anxieties about modern life: conformity and alienation. Postwar intellectuals worried about the 'organization man' (the title of a book by the journalist William Whyte) and the 'other-directed' personality (diagnosed in the sociologist David Riesman’s 'The Lonely Crowd'). These were seen as socially dangerous types. People who did what they were told and who wanted to be like everyone else, who were not 'inner-directed,' were people easily recruited to authoritarian movements...."

Writes Louis Menand, in "The Origins of Creativity/The concept was devised in postwar America, in response to the cultural and commercial demands of the era. Now we’re stuck with it" (The New Yorker)(discussing ).

You might wonder how Menard argues his way to the notion that "now we're stuck with" individualism and nonconformity. I can't quote the whole article, but it has to do with capitalism capitalizing on the concept of creativity. As Franklin puts it: "The concept of creativity never actually existed outside of capitalism." 

"Yes, Trumpy populism was halting and self-contradictory, but the variety that emerged in Republican circles after Mr. Trump left office was downright fake."

"Correctly perceiving working- and middle-class discontent with corporate power and economic insecurity, Republicans in 2022 tried to channel it into cultural grievances, ginning up outrage over 'woke' sensitivity trainings in the workplace, for instance. A much more effective way to check corporate power would actually be to empower workers — which is what unions do best. Instead, the right continued to pursue its old program of undermining the New Deal. Fake G.O.P. populism challenged 'woke capital' — companies that it believed had become overly politically correct — but didn’t dare touch the power of corporate America to coerce workers and consumers, or the power of private equity and hedge funds to hollow out the real economy, which employs workers for useful products and services — or used to, anyway." 

Writes Sohrab Ahmari in "Why the Red Wave Didn’t Materialize" (NYT).

Now, I'm thinking I have 2 kinds of readers: the ones who are saying why should I know or care about the Madison Public Market and...

... the ones who are saying yes, that's the thing that Althouse questioned that one time and Paul Soglin, the Mayor of Madison, instead of engaging respectfully, decided to attack her big time, so she was forced to resort to reason and mockery?

I'm reading "Madison Public Market all but scrapped, as officials make one last plea to alders for funding" (WKOW).

Here's the post I wrote on January 10, 2017:

Oh, Spotify, you know us so well.

Meade and I have separate Spotify accounts, but we link them in a playlist they call "Ann + laurencemeade/A blend of music for Ann and laurencemeade." Today, we noticed a spot to touch with an option called "View Blend story." Okay. Spot touched. This screen pops up:

 

"The song that brings you to together"! Ha ha. Can't you imagine us sitting around hating capitalism together? I wonder what the actual song that brings us together is. 

You can listen to the song here. I'm not recommending it, just showing you that it is a real song:

"Although Piketty favors much higher income tax rates ('virtually confiscatory tax rates have been an immense historical success'), policies that redistribute property rather than income are the heart of his program."

"These would include reparations for descendants of enslaved and colonized people, encouraging countries in the global south to tax the fortunes of nonresidents who do business there, cancellation of debts and a program he calls 'inheritance for all,' in which wealth taxes would reduce large fortunes and provide everyone with a financial cushion. He would also take a large measure of control over corporations away from their managers and shareholders and give it to employees, and create 'a system of egalitarian funding for political campaigns, the media and think tanks.'... He is well aware that changes on the scale he is proposing never happen incrementally.... Piketty doesn’t make predictions, but he treats the current system of 'hypercapitalism' as being obviously doomed. Other than socialism, the only real alternatives are authoritarianism, Chinese-style Communism or 'reactionary projects' like ISIS. ... Absent disaster, it seems possible, or even likely, that [incremental adjustments] will move economic policy in the direction Piketty would want... though to an extent that he would consider pathetically inadequate."

From Nicholas Lemann's NYT review of Thomas Piketty's new book "A Brief History of Equality."

"That this vision appeals to so many viewers, especially young ones, suggests a chilling and bleak perspective — on capitalism, on 'freedom,' on individual agency..."

"... that should stop us in our tracks.... Maybe the viewers of 'Squid Game' just thrill to the bold, cartoon-colored shock of it: Its visual and spiritual aesthetic are what you’d get if you crossed an episode of 'Teletubbies' with a highlights reel of Quentin Tarantino at his grisliest.... Then there’s the indiscriminate manner in which a huge hit becomes an even bigger phenomenon — a trend — divorced from its actual content.... The Times also published an article by Vanessa Friedman about how track suits were newly 'hot' because the 'Squid Game' contestants wear them (as a kind of prison uniform, mind you). The Times published another article, by Christina Morales, about the history of dalgona candy, which is a deadly prop in one of the series’s elimination contests. There was a link to instructions, by Genevieve Ko, on how to make it. In a week and a half, on Halloween, we’ll be bombarded by 'Squid Game' costumes.... To some extent, 'Squid Game' is big because it’s big, its first-burst popularity generating attention that begets even greater popularity as everyone wants in on the action and as a curiosity’s slippery tentacles reach farther and farther into people’s consciousness. But its commentary on class, greed and savagery is much too central to be incidental... [T]his portrait of life as a sadistic lottery and poverty as a hopeless torture chamber has resonance...."

From "Why the Popularity of ‘Squid Game’ Terrifies Me" by Frank Bruni (NYT).

1. Young people have been watching horror and violence for decades. Consumers have a taste for what they've consumed in the past. It's the kind of thing where to give more of the same, you have to give it more intensely and in a greater dose. The manufacturers of violent material do what they know they need to do to keep shocking.

2. But maybe it's not just a taste for horror and violence. Maybe it's the critique of capitalism that "has resonance." Bruni assumes that viewers begin with a gloomy attitude and that the show is confirming their pessimism. He does not consider the possibility that the show is anti-capitalism propaganda, designed to infect the mind of the young — not just to play with their pre-existing angst, but to direct their thinking.

3. Bruni provides some criticism of the New York Times. Once something is popular, it generates life-style articles that ride on the trend. He gives us some evidence, but doesn't observe the genderedness of this phenomenon. I can't help observing that his examples are articles written by women and the subjects — food and fashion — are stereotypically female. 

WaPo's front page features 2 different articles about North Korea promoting its superiority.

1. "Shirtless soldiers lie on broken glass, smash bricks with hands as Kim Jong Un vows ‘invincible’ military": "The extraordinary videos were part of a 'self-defense' exhibition on Monday in which totalitarian North Korea showcased its latest nuclear and other weaponry..."

2. "Netflix hit 'Squid Game' is so big North Korea is using it to slam South Korean society": "While the dystopian series has gripped viewers around the world with its gruesome tale of economic despair and deadly childhood-inspired games, a North Korean state-run website says the production serves to highlight the 'beastly' nature of 'South Korean capitalist society where mankind is annihilated by extreme competition.' In a post published Tuesday, the website said 'Squid Game' reflects an 'unequal society where the strong exploit the weak.'... In June, North Korean leader Kim Jong Un branded South Korea’s entertainment scene — including K-pop — 'a vicious cancer.' He accused it of corrupting the 'hairstyles, speeches and behaviors' of North Koreans...."

Cease and desist!

Yesterday when we were shooting, these industrious young entrepreneurs opened a lemonade stand near our set and called it a “Clerks Jr.” It totally worked, resulting in our crew spending much money there. Then I called my lawyer and sent all the kids cease-and-desist orders. pic.twitter.com/7t75z1vcqQ

— KevinSmith (@ThatKevinSmith) August 3, 2021

"Younger artists in the dreary, austere Britain of the early 1950s began to reject the modernist disdain for the garish hucksterism of capitalist salesmanship."

"[In 1957, one theorist said Pop Art should be] popular, transient, expendable, gimmicky, glamorous, and—he used the term explicitly—big business. Such a frank alliance between avant-garde art and capitalism was made possible by the cold war. The rivalry with communism gave consumerism an appearance of depth. It was not, as elitist critics had long maintained, shallow and meretricious. Consumerism stood for what Harry Truman called, in the 1947 speech that inaugurated the cold war, a 'way of life.' Communism imposed everything from above. But capitalism—in its own self-image—created infinite choice. Its claim (seldom borne out in reality) was that it allowed the consumer to make all the decisions. Coke or Pepsi, Gillette or Wilkinson Sword, Max Factor or Revlon—it’s entirely up to you... It is not the artist but the viewer, listener, reader, or audience member who creates the meaning of the work. The aim of aesthetic creation is to make the producer disappear and leave only the object and the consumer.... At the heart of the self-image of the West in the cold war was a powerful but often amorphous idea: freedom....What, in any case, was freedom, and to whom did it belong? The desire for the art object to be free came easily enough to artists who were male and white...."

From "Freedom for Sale/In the 1950s and 1960s, a new generation of American artists began to think of advertising and commercial imagery as the new avant-garde" by Fintan O’Toole (NY Review of Books)(reviewing "The Free World: Art and Thought in the Cold War" by Louis Menand).

"We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale."

"It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that perfect world in which there's no war or famine, oppression or brutality -- one vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock, all necessities provided, all anxieties tranquilized, all boredom amused."

 

That's Ned Beatty as Arthur Jensen in "Network" (1976).  

Ned Beatty died yesterday at the age of 83.

"Paper architecture has often had a real utopian or critical underlying agenda to it... [It] was often explicitly anti-capitalist, and emphasized the possibilities of a post-revolutionary society."

"Today’s C.G.I. interiors, on the other hand, offer a fantasy of individual consumption and relaxation, but suggest a certain amount of political indifference. 'This seems like there’s no plan, no societal vision, no critique....Taking a historical view, to have anything appropriating fictional utopian architecture with no utopian vision is a bit depressing.' The earlier part of the twenty-tens saw an explosion of 'cabin porn' on Tumblr: a nostalgic, earthy aesthetic of Obama-era hipster Americana—all wool blankets and gas lanterns and flannel jackets—which, in hindsight, may have channelled a growing uneasiness about accelerating digitization. By contrast, the aspirational, hyperrealistic interior-design imagery on Instagram—some call it 'renderporn'—isn’t wary of digital life.... 'There might be a way in which C.G.I. architecture is appealing because it completely disavows the reality of scarcity—monetary, planetary.... There’s this fantasy of freedom, where the real pinnacle of freedom is doing whatever you want without any material constraints.'..."

From "The Strange, Soothing World of Instagram’s Computer-Generated Interiors “Renderporn” domesticates the aspiration and surreality of the digital age" by Anna Wiener (The New Yorker). A random example of what she's talking about:

View this post on Instagram

A post shared by Hugo Fournier (@hugo.fournier)

This had me thinking about the "layouts" in "The 3 Stigmata of Palmer Eldritch." The Wikipedia plot summary begins:

The story begins in a future world where global temperatures have risen so high that in most of the world it is unsafe to be outside without special cooling gear during daylight hours. In a desperate bid to preserve humanity and ease population burdens on Earth, the UN has initiated a "draft" for colonizing the nearby planets, where conditions are so horrific and primitive that the unwilling colonists have fallen prey to a form of escapism involving the use of an illegal drug (Can-D) in concert with "layouts." Layouts are physical props intended to simulate a sort of alternative reality where life is easier than either the grim existence of the colonists in their marginal off-world colonies, or even Earth, where global warming has progressed to the point that Antarctica is prime vacation resort territory....

Maybe people are using drugs with those "Renderporn" images. 

Interesting to think of these trips into Instagram as an alternative to travel in a world wrecked by global warming and disease and violence and excessive tourism. If the places don't really exist, there's nowhere to travel to and no one is able to get any closer to this unreal idea than you are. Instant equity. 

I think a better use of your mind would be to look at the Renderporn and not feel dreamily pulled in but to see it as insipid and disgusting. Resist the fake.

Which reminds me — the author of the New Yorker article — has a book titled "Uncanny Valley." I think it's a good idea to retain whatever aversion to the fake you've managed to preserve thus far.

FROM THE EMAIL: Policraticus says:

When I browsed the work of Fournier on Instagram I was immediately struck by how much they evoke the Renaissance paintings of the "Ideal City". The imposition of art upon nature can often be beautiful, but it is always seems sterile. Like the man who was disappointed in his modernist architect, I have to ask, "where do I hang my coat?"

Here's the Wikipedia article, "Ideal City" ("An ideal city is the concept of a plan for a city that has been conceived in accordance with a particular rational or moral objective"). Here's a painting from the 15th century: