The Glamour of Evil

Paraphrasing Greg Cochran:

 … a [model] that generates entertainingly wrong results will inevitably produce many interesting and publishable results.

Hah! And what do the media insatiably want? Interesting and publishable results! Clickbait! Something scary! Something that can be blamed upon some scapegoat! Something we can act to eliminate, simply by ostracizing the scapegoat!

A model of some sort generates a scary result of some sort: “Arctic May Be Ice Free By 2014,” or “Local Witch May Be Responsible For Cow Death,” or, “Jews / Blacks / Christians / Whites / Men / Immigrants / Liberals / Progressive Social Justice Warriors / Environmentalists / Feminists / Muslims May Be At Fault For All That Is Wrong With Your Life (Not You),”  or something of the sort. Then, it’s off to the races, with lots of breathless news about the ongoing crisis.

Continue reading

I Get a Kick out of Fugue, Part 1

Bach Art of the Fugue

J. S. Bach: Art of the Fugue (Illuminated Score)

The most famous fugue – we shall come to a definition of the term in good time – is Johann Sebastian Bach’s fugue from his Toccata and Fugue in D Minor, intended for the organ.  Supposing Bach (1685 – 1750) to have written the score and not someone else, as a number of modern scholars have claimed, the Toccata and Fugue in D Minor dates probably from the last decade of the composer’s life, when his longstanding interest in fugal procedure intensified, yielding latterly the immense and daunting Art of the Fugue, its final quadruple fugue remaining unfinished at the master’s death.  Uniquely among the innumerable representatives of its genre, Bach’s “D Minor” succeeded in penetrating popular awareness.  It did so in connection with the Walt Disney film Fantasia (1940), for the opening sequence of which the überromantic conductor of the Philadelphia Orchestra, Leopold Stokowski, adapted his arrangement of Bach’s organ-score for an immense modern symphonic ensemble.  Stokowski’s version dates back to the late 1920s.  He had been performing it in his concerts as a “curtain raiser,” which it undeniably is, for a decade when Disney lured him to the immortalizing Fantasia “gig.”  The Toccata and Fugue in D Minor stands out in Fantasia, coming right at the beginning, for being the only sequence in the film whose visual accompaniment avoids the naively picturesque in favor of purely coloristic and geometrical effects.  It is the only sequence that is not Kitsch. The “D Minor” turns up in another Disney film fifteen years later.  Captain Nemo of the submarine Nautilus plays it for Professor Arronax in Twenty Thousand Leagues under the Sea (1954).  In one of the 1950s Hammer Studios vampire ventures, Count Dracula lets on his affection for the same piece in an impromptu keyboard recital for his guests. Continue reading

How to Tell a Weenie

Reading a book of evangelical theology this afternoon, I realized that there are a few reliable ways we can be sure that an author is a liberal weenie, and that the text he has written is therefore ideologically driven, ergo tendentious (whether witly or not), and probably wrong in its arguments. It is very simple, at least in books of theology. We can be sure that an author is a weenie if:

  • He uses “impact” as a verb.
  • He uses “image” as a verb.
  • He avoids using masculine pronouns in referring to God.
  • He uses “gender” to indicate sex.
  • He uses “gender” as a verb.

If furthermore there is ever in a writer about ancient texts anything like environmentalism or feminism, egalitarianism or communism, relativism or nominalism, we can be sure that he has read them anachronistically, and therefore wrongly. We can, in short, be pretty sure that he is a hopeless idiot, and what is worse, not even therefore much useful to his sinister god.

What can we take from this? That we should never, ever, ever in a million years commit any such howlers.

Probably I have missed a few. I welcome correction of any such omissions.

Upstate Consolation University Addresses Statue Crisis

 

UCU Administration Building

The Mehar Shandruff-Danpoo Multicultural Center and Cafetorium (UCU Main Campus)

As the fall semester began in the first week of August at Upstate Consolation University, student radicals and their faculty sponsors, seeking solidarity with their fellow Social Justice Warriors elsewhere in the country, rallied in the Mehar Shandruff-Danpoo Multicultural Center and Cafetorium, formerly the Andrea Dworkin Memorial Housing and Parking Office, to announce their determination to overturn and smash all statues of Confederate Civil-War heroes currently standing on the teaching-college’s architecturally bland lakeside campus.  On leaving the rally, however, to go in search of offensive icons to topple and desecrate, the emotionally overheated crowd could find none.  There were various commemorative statues scattered about the grounds of UCU, but not only did none of these represent or honor any Confederate Civil-War hero, none represented or honored any Civil-War hero, or, with one exception, any participant in any war. This fact is perhaps unsurprising given that UCU was only founded in 1958, nearly a century after the Southern surrender at Appomattox Courthouse. The absence of targets nevertheless provoked the protesters maddeningly, causing them to retreat to designated “safe places,” where volunteers supplied them with pearl necklaces to clutch and offered smelling-salts to redeem the marginalized and oppressed from their debilitating white-privilege-induced vapor-attacks.

Continue reading

What I Saw During the Eclipse

They Live 01

My Downtown, as Photographed During the Eclipse

During a solar eclipse, light from the sun is not only diminished by the occulting transit of the moon, but that same light is also temporarily polarized.  The polarization shows things fleetingly in a new and revelatory way, as long as one is looking.  (It helps to be looking, as it were, out of the corner of one’s eye.) Rather than photographing the eclipse itself, as it passed over my city, and as many people were doing, I photographed the city.  The shots in this post document what I saw.

Continue reading

Thomas Sowell in “Intellectuals and Race”

negro-classroom-selma-alabama

Thomas Sowell in “Intellectuals and Race” has now been published by the Sydney Traditionalist Forum. I do no more, really, than summarize Sowell’s main arguments and conclusions. If you have read “Intellectuals and Race” this article can serve as a refresher regarding some of the main points. If you have not read “Intellectuals and Race,” the book is not simply a philosophical argument, but presents copious empirical evidence that the causes of problems that many black Americans face have been misdiagnosed and thus the offered solutions are also often misguided.

If the aim is to help actual concrete people, rather than to play ideological games and identity politics, this book should be regarded as a must read.

What’s Wrong with a Little Political Correctness?

Political correctness is an instrument of oppression and scapegoating most prominently used by academic and political elites and enforced by mainstream news outlets. It is tyrannical, conformist and puritanical. Most egregiously, it is anti-thought. In On Liberty John Stuart Mill writes “Truth gains more even by the errors of one who, with due study and preparation, thinks for himself, than by the true opinions of those who only hold them because they do not suffer themselves to think…”

An analogy can be made with other forms of despotism. Marshall Tito of Yugoslavia, once he had executed 250,000 people at the beginning of his tyranny, proceeded to be a fairly benevolent dictator. This is no argument in favor of this form of government however because the fact of his benevolence was merely happenstance. There was no mechanism by which he might be removed should his actions become intolerable.

Likewise, counterfactually supposing political correctness had some beneficial effects, there is no mechanism of correction. Political correctness countenances lies and censorship if they be in what is considered a good cause. As many have noted, when it comes to political correctness, the truth is no defense. This means errors cannot be challenged, even in principle, by appeals to facts. Instead, insisting on pointing out inconvenient truths is an excellent way to find oneself being morally condemned.

Continue reading

In Hoc Signo Vinces – Deus Vult!

No new insigniae are needed to indicate the loyalties and intentions of the proper Right of the West (and of Christendom more generally). The unbroken Cross of the Tradition will do, whereas no other could. In no other sign could we ultimately, truly conquer; in every other sign we should certainly, finally suffer defeat. So nor should any others than the Cross or its many variations be deployed as our banners. Two in particular signify and muster and urge the Church Militant:

Continue reading

The Lethal Sociological Misprision of Modernism

Feminists, Marxists, libertarians – indeed almost all moderns – are alike stuck in the improper reduction of all social relations to struggles for power. They cannot see that struggles for power are not the basis of society, but rather defects thereof. Society is constituted fundamentally of charitable exchange, communion, friendship, familiarity, commensality.

There is struggle, to be sure. But you can’t struggle for social power if there is no society to begin with.

The modernist’s reduction of society to its diseases leaves him unable to understand his quotidian predicaments in any other way than as constant battle. This dooms him to … constant battle. It’s a self-fulfilling prophecy.