Not thirty minutes into the story of San Andreas, a colossal skyscraper falls on my old girlfriend’s apartment house in West L.A. and then a tsunami sweeps it all away. So – pretty good stuff! I am giving this movie four-and-a-half stars out of five. I withhold half a star for the scenes in which the actors have lines.
Thinking these thoughts so that my friends don’t need to. TFB.
So it’s election season again in the US, and the press is all abuzz over the recent declarations of candidacy. Last time around, I still cared a bit, mostly out of habit I suppose. I liked Romney, who I think is a fundamentally decent man, and I was disappointed to see such a talented, intelligent and enterprising fellow rejected in favor of an inept fool like Obama. So I was interested to that extent.
But Christian reaction had by then so permeated my being that I knew the only difference the election might possibly make is that of a few percentage points in my federal tax rate. Not that those percentages are unimportant, for they are, and the welfare of millions hangs upon them; but thanks to the mind-boggling deficits of the first four Obama years, they are upward bound, for the foreseeable future, almost no matter what. Obama spent so much money that no future administration is going to be able to cut taxes. Obama has eliminated all room for such maneuvers. It’s a genius move, albeit not the move of a genius.
Evil is fundamentally stupid. You can be ingeniously evil, but to be evil in the first place is stupid. E.g., you can devise a brilliant plan to rob a bank, but robbing a bank is an essentially stupid thing to do.
Apropos of Kristor’s recent recommendation of an essay, available online, by the redoubtable René Girard (born ninety years ago), I call attention to my latest contribution at The Brussels Journal, “Globalism as Sacrificial Crisis,” a discussion in review of The Mark of the Sacred by Jean-Pierre Dupuy, who works from a declaredly “Girardian” perspective. The Mark of the Sacred is a courageous analysis of the existing crisis in terms of Girard’s concepts of mimesis and the sacred. The review is a follow-up to two earlier ones that also appeared at the Journal – those of Gregory Copley’s Un-Civilization and Eric Cline’s 1177 BC: The Year Civilization Collapsed. I am indebted, as always, to Luc van Braekel, for the handsome treatment of the text.
The article is here: http://www.brusselsjournal.com/node/5148
I am also indebted, as often I have been in the past, to Angel Millar, webmaster of The People of Shambhala, for posting my essay on “Ur-Civilization, Cosmology, and the Invention of History,” which couches a discussion of how much we know of the human past, and of how certain many people are of knowing everything about it, in the context of a quest for the merits inherent in what its detractors refer to as pseudo-archeology. Readers of The Orthosphere who are familiar with such names as Ignatius T. Donnelley or C. J. Cutcliffe Hyne, might find some modest pleasure in my paragraphs. (As I hopefully predict…)
The article is here: http://peopleofshambhala.com/ur-civilization-and-the-invention-of-history/
When, several semesters ago, my department chair asked me to teach the local version of the nowadays-pervasive “popular culture” course, I consented with some mild misgivings and, as I like to do, took a mostly historical approach to course-content. I have no investment in contemporary popular culture, the wretchedness of it striking me as consummate. My students, for their part, being morbidly, continuously immersed in contemporary popular culture, require no one to acquaint them with it. At least they require no one to tutor them in it directly, since it regrettably is their ubiquitous, hortatory guide, and their authoritative cue-giver, for all facets of life. But one might apprise them about the insipidity of existing mass-entertainment indirectly by putting it in contrast with the popular entertainments of the past, including the classic films that most of them have never seen and, more importantly, would never seek out on their own. One film that I showed to students was the Errol Flynn vehicle The Adventures of Robin Hood (1938), directed by Michael Curtiz. Another one, not so well known as Robin Hood, was the Roger Livesey/Wendy Hiller vehicle I Know Where I’m Going (1945), directed by Michael Powell (1905 – 1990).
I recently set my freshman composition students the task of writing an essay based on each writer’s choice of a topic from a list of two hundred topics. I urged especially that writer-respondents to the assignment should strive to find interest in whatever topics they might select and that they should seek to discover the meanings in their topics. To prove that it could be done, I wrote the following essay on one topic from my own list – “Lemuria.” I append my list at the end of the essay. (TFB)
When I teach my course on science fiction at SUNY Oswego, I concentrate on classic texts of the highest literary merit – those by Edgar Allan Poe, H. G. Wells, Olaf Stapledon, and Ray Bradbury. When I pursue my lifelong hobby I am less selective. When I discover an unknown paperback title in a second hand bookshop, I frankly judge the item by its cover while where content is concerned I hope for the best. Most of the mouldering paperbacks fall short of memorability. Occasionally, however, a jewel appears among the rubble, a short story or novel more or less forgotten that, for one reason or another, merits contemporary re-visitation. One such, which I encountered again three or four years ago after a lapse of decades, is Charles Eric Maine’s World Without Men (1958), a novel about the long-term implications of birth control, abortion, and the so-called sexual revolution that treats these matters in a bold and prescient way.
Despite the advocacy of conductor and countryman Neeme Järvi and the determination of record-producer Robert von Bahr (founder of the BIS label) in the 1980s, the work of the Estonian-Swedish composer Eduard Tubin (1905 – 1982) remains largely unknown beyond a small coterie of aficionados who take an interest in Baltic and Scandinavian music. Humphrey Searle and Robert Layton in their survey of Twentieth Century Composers: Britain, Scandinavia and the Netherlands (1970) omit to mention Tubin although they devote discussion to a number of his contemporaries in mid-century Sweden such as Hilding Rosenberg (1892 – 1985), Karl-Birger Blomdahl (1916 – 1968), and Allan Pettersson (1911 – 1980). Tubin’s obscurity is a pity because he composed at a level at least as high as that achieved by Rosenberg, Blomdahl, and Pettersson. Indeed, Tubin wrote in an idiom more accessible than any of theirs, being, as one supposes, much less worried than they about his “modern” bona fides. What explains Tubin’s obscurity? It might have something to do with his refugee-expatriate status: He fled Estonia for Sweden after the Soviet invasion in 1944; and while he remained an Estonian nationalist – by reflex, anti-Soviet and anti-Communist – his adoptive country became increasingly accommodationist.
On a friend’s recommendation, I rented Warm Bodies this weekend, expecting nothing more than a little mindless entertainment to provide an occasional distraction from homework. What I got, instead, was a break from the usual genre exercise with a symbolic structure that’s almost too overtly Christian to be unintentional. (Spoilers below the break).
I call the attention of Orthospherians to my article “I get a Kick out of Fugue II: Fugue in the Twentieth Century” at Kidist Paulos Asrat’s Reclaiming Beauty website; “Fugue II” is a follow-up to my article from early in summer, “I get a Kick out of Fugue,” also at Reclaiming Beauty. Meanwhile, Angel Millar has given my essay on “Richard Wagner, Revolution, and the Re-Founding of Humanity” a generous presentation at his website, The People of Shambhala. The two essays on fugue argue, with plentiful musical illustration, my anthropological theory of fugal practice as reflecting the patterns of social breakdown and reformation. The essay on Richard Wagner and Musikdrama likewise has an anthropological slant: I take seriously Wagner’s writings, wherein, once one gets past the florid rhetoric, one finds a genuine and plausible theory of the origin alike of consciousness and culture. I recommend both Reclaiming Beauty and People of Shambhala as interesting and valuable websites.
As is his inimitable, charming wont, Mike Flynn eviscerates eliminative materialism in the nicest possible way. A summa:
Science is a filter, much like a fishing net; but we mustn’t conclude from the fish caught in the net the sizes of fishes in the deep blue sea. Yet some people reason that if science cannot distinguish between the mechanistic and the volitional, everything at bottom must be mechanistic. The apparently volitional is “really” mechanical. But surely it is just as reasonable to conclude that everything is at bottom volitional. The apparently mechanical is “really” the working out of a Will. At least from the scientific perspective you cannot prove otherwise.
Flynn is one of the most amiable rapiers you are ever likely to encounter. Feser cheerfully and relentlessly obliterates his adversaries, pounding their smithereens into dust; Flynn just lops off their legs, in such a gentlemanly fashion as to make it seem as though he is doing them a favor.