Tuesday 28 May 2013

ONE BIG WEEKEND GOES SPECTACULAR





BBC Radio 1 rolled its One Big Weekend festival into Derry Londonderry (54 degrees North, 7 degrees West) as part of the UK City of Culture 2013 programme and went spectacular.

In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation.
Ellie Goulding sang 'Anything Could Happen'.

And indeed it could.

Ain't got no mother, ain't got no culture
Ain't got no friends, ain't got no schooling
Ain't got no love, ain't got no name
Ain't got no ticket, ain't got no token

It is the nature of big weekend festivals that the many more people who do not get tickets are disappointed. Some saw the acts perform in a live-streaming organised by local community groups well away from the festival site.

Following the weekend, media reports are ecstatic. The event is hailed as a major success. The sight of young people – at least some of them - smiling and enjoying themselves – at least for a weekend – is hailed as a triumph.

And it is.

Can it be sustained? Can the resources poured into the city to bring off the weekend festival by the BBC, Derry City Council, Police Service of Northern Ireland (PSNI), Search, Fire and Rescue bodies, ambulance and hospital services, stewarding organisations and many other dispensers of public money, be gathered and spent again in the city?

Not likely.

There were efforts made by shops, hotels and bars and others to capture some of the spare cash brought by the 40 000 people who attended, as well as the jet-setting stars and their crews, thus capitalising on the massive outlay of public funds.

Is this the business model?

The spectacle presents itself as a vast inaccessible reality that can never be questioned. Its sole message is: “What appears is good; what is good appears.” The passive acceptance it demands is already effectively imposed by its monopoly of appearances, its manner of appearing without allowing any reply.
Ain't got no home, ain't got no shoes
Ain't got no money, ain't got no class
Ain't got no skirts, ain't got no sweater
Ain't got no perfume, ain't got no beer

And where is the human in all of this?

I got my heart, I got my soul
I got my back, I got my sex
I got my arms, I got my hands
I got my fingers, Got my legs
I got my feet, I got my toes
I got my liver, Got my blood

In the midst of the lonely crowd, small groups, living within – and enjoying - the spectacle, as all citizens do, are also considering moves to bypass it. They are drawn to make, not only to consume; to be, not only to have; to live, not only to exist.

The end of the history of culture manifests itself in two opposing forms: the project of culture’s self-transcendence within total history, and its preservation as a dead object for spectacular contemplation. The first tendency has linked its fate to social critique.




http://www.lyricsdepot.com/nina-simone/aint-got-no-i-got-life.html
http://www.youtube.com/watch?v=qqpNaAnYatE&feature=youtu.be





Friday 17 May 2013

READING STRAW DOGS BY JOHN GRAY



Straw Dogs is the title of a Sam Peckinpah film and of a book by John Gray.

John Gray is professor of European Thought at The London School of Economics, London (51 degrees North, 0 degrees West). The reader observes, after finishing Straw Dogs, that John Gray doesn't think much of European thought.

Straw Dogs is a brisk, lively, yet curiously enervating read, a vivid swirl through philosophy, animal behaviour and popular culture.

Gray is a big fan of arch-pessimist Schopenhauer.

Like other animals, we are embodiments of universal Will, the struggling suffering energy that animates everything in the world.

Gray is good when quoting voraciously from, and commenting quirkily upon, the work of dead philosophers. He has a winning Sunday paper/colour supplement style, used to telling effect in snatches of writing that are robust and catchy. It is highly readable pop-philosophy at its best, especially when nailing the myth of perpetual progress.

The idea of progress is only the longing for immortality given a techno-futurist twist.

The technological pursuit of immortality is not a scientific project. It promises what religion has always promised – to give us freedom from fate and chance.

Gray is astutely accurate in his delineation of the cult of Christianity as the mid-point between Greek philosophy and the Enlightenment in the series of myths we use to make sense of the here and now and to make some sense of hope and possibility for the future.

After all, there's never been a kingdom given to so much bloodshed as that of Christ.
That's Montesquieu, isn't it?
Oh, really? Who's he?
Somebody well worth reading.

Gray has no time for moral philosophy. The section The Vices of Morality is the most trenchant in the book and he has a right go at Socrates.

We think of morality as set of laws or rules that everyone must obey, and as a special sort of value, which takes precedence over every other.

The reader senses that Gray is less secure when relying on his own invention and concludes that, after all the fireworks and the allusions, Gray is simply a downbeat Malthusian of the old school; every problem in the world is due to over-population and the only solution is the mass annihilation of many of Gray's fellows, which is likely anyway as we are homo rapiens and killing is what we are good at.

The reader notes that Gray does not offer himself, his family, friends and colleagues as members of the species to be taken out. Gray reserves that role for a generalised body referred to as 'the poor', who, as always in such works, are elsewhere, never in the world of the writer.

Images of the Sunday supplement magazine come to the reader's mind. There is a centre fold spread of aching text and stunning photos of the horrors of war, the devastations of famine or the trauma of an industrial catastrophe, such as in Dhaka (23 degrees North, 90 degrees East) recently.

And following this, there is the high-gloss photo of a luxury saloon car or a watch of improbable ostentation or even a grotesquely sleek and powerful racing yacht. The Sunday supplement tells us that believing the dreams of their advertisements is the way to confine the horrors of the world elsewhere. The choice is ours.

All the grand narratives get the Gray treatment and are dismissed: Western and Eastern philosophies (the Eastern ones, especially Chinese and Japanese, fare slightly better), the Homeric Greek ideas, the Socratic Greek ideas, Christianity, the Enlightenment, Marxism, Fascism and Stalinism.

Notably, the current dominant narrative - a globalised casino-capitalism – is not treated quite so forcefully. This surprises the reader given that Gray works in an academic institution which has as a motto rerum cognoscere causa (to know the cause of things). As ever, what you see depends on where you look from.

The reader plans to read Gray's first book: False Dawn: The Delusions of Global Capitalism and notes that it is not sufficient to base everything on contingency and a deterministic, cyclical, even downwardly spiralling, fate, drawing us to destruction.

We are contingent, rapacious, social animals, with choices, if not purposes and aims.

The reader is left wanting more than Gray's concluding note.

Can we think of the aim of life as being simply to see?

What you see depends on where you stand. Gray's vantage is metropolitan, academic and wealthy.

His book is stirring, readable and the epitome of I'm-alright-jackery.



Straw Dogs: book; John Gray; Granta Books: London; 2002
Straw Dogs: film; Sam Peckinpah; ABC Pictures; Los Angeles; 1971



www.facebook.com/DaveDugganWriter


Friday 10 May 2013

SHAKESPEARE MORALS DISPUTES TODAY



Christian church leaders in Ireland and Britain call for broad moral discussions in the face of public efforts to change laws and practices on marriage, abortion, the role of women clergy, prostitution and the sex trade.

Come, you are too severe a moraler: as the time, the place, and the condition of this country 
stands, I could heartily wish this had not befallen; 
but, since it is as it is, mend it for your own good.

Mending it for our own good is complex in the midst of calls from quarters embroiled in sexual, financial and other difficulties and scandals.

When I did hear 

The motley fool thus moral on the time, 

My lungs began to crow like chanticleer 

That fools should be so deep contemplative;

It is past time for church leaders to humbly and morally reflect on the churches' relationships with investment banks and arms manufacturers; to cogently acknowledge that best practice in child protection was not always present and is not currently assured to public satisfaction; that the understanding of marriage today is changing as it has done over the centuries; that it is possible to be pro-life, while accepting the right of women to choose to be pregnant or not; that controlling conception is a contemporary, human right;

and yet, to say 
the truth, I had as lief have the foppery of freedom 
as the morality of imprisonment.

And that being moral is a human creation, one that is continually contested and re-invented in the cauldron of our lives day-to-day.

Fortune is an excellent moral.

Being moral is a cultural and evolutionary form available to all humans.

Applying this to that, and so to so; 
For love can comment upon every woe.




http://www.opensourceshakespeare.org



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