Category Archives: Thinking the Present/ Contemporary Culture

Job 25:2 (415)

Scripture from the Hebrew Bible quoted in Michel Franco’s New Order (2021):

“Dominion and fear are with God;
he makes peace in his high heaven.

Is there any number to his armies?
Upon whom does his light not arise?

How then can man be in the right before God?
How can he who is born of woman be pure?

Behold, even the moon is not bright,
and the stars are not pure in his eyes;

how much less man, who is a maggot,
and the son of man, who is a worm!”

Hall and Grossberg (415)

Hall, “After Neoliberalism”:

The current neoliberal settlement has also entailed the re-working of the common-sense assumptions of the earlier, social democratic settlement. Every social settlement, in order to establish itself, is crucially founded on embedding as common sense a whole bundle of beliefs – ideas beyond question, assumptions so deep that
the very fact that they are assumptions is only rarely brought to light. In the case of neoliberalism this bundle of ideas revolves around the supposed naturalness of ‘the market’, the primacy of the competitive individual, the superiority of the private over the public. It is as a result of the hegemony of this bundle of ideas – their being the ruling common sense – that the settlement as a whole is commonly called ‘neoliberal’. (13)

Ideology plays a key role in disseminating, legitimising and re-invigorating a regime of power, profit and privilege. Neoliberal ideas seem to have sedimented into the western imaginary and become embedded in popular ‘common sense’. They set the parameters – provide the ‘taken-for-granteds’ – of public discussion, media debate and popular calculation. (17)

The ideology of competitive individualism has also been imposed via the stigmatisation of the so-called ‘undeserving’ poor. ‘Welfare scroungers’, who cannot provide for themselves through their own efforts, are labelled morally deficient- ‘idlers who prefer a lie-in to work’, ‘living on benefits as a “life-style” choice’. Similarly, everyone – parents, students, clients, patients, taxpayers, citizens – is expected to think of themselves as consumers of ‘products’ that will bring them individual economic advantage, rather than as social beings satisfying a human need, producing something of use, or participating in an experience of learning from which others as well as themselves may benefit. In these ways, neoliberalism has been engaged in constructing new entrepreneurial identities and re-engineering the bourgeois subject.

Looking at the broader cultural picture, we detect similar tendencies: in consumer and celebrity cultures, the drive for instant gratification, the fantasies of success, the fetishisation of technology, the triumph of ‘life-style’ over substance, the endless refashioning of the ‘self’, the commercialisation of ‘identity’ and the utopias of self-sufficiency. These ‘soft’ forms of power are as effective in changing social attitudes as are ‘hard’ forms of power such as legislation to restrict strikes. (18-19)

Grossberg, “Ideology”:
Antonio Gramsci (1971) emphasized the complexity of the relationships that define human reality at any particular time and place; and he rejected the assumption that such relationships were the necessary result of transcendental forces – like the economy. Consequently, he opposed the tendency to assume that class and/or economic relations necessarily provided the truth about everything. Instead, he argued that human reality was the product of the work of producing or articulating relationships. His concept of hegemony describes an ongoing struggle to create ideological consensus within a society, while his concept of common sense emphasizes the fragmentary and contradictory nature of the unconscious meanings and beliefs with which people make sense of their world. (176)

Louis Althusser (1970) once more turned the concept on its head by defining ideology as the systems of representation in which people live their relationship to the real conditions of their lives. Ideology is an indispensable dimension of human life, the means through which experience itself is produced. Experience becomes a political reality rather than a natural ‘‘fact’’ that remains free of political determination. For Althusser, then, ideology is always embedded in the actual material practices of the language use of particular social institutions, which he called ideological state apparatuses. (177)

 

Into the Dark Chamber (220/415/485)

INTO THE DARK CHAMBER: THE NOVELIST AND SOUTH AFRICA

Date: January 12, 1986, Sunday, Late City Final Edition Section 7; Page 13, Column 1; Book Review Desk
Byline: By J. M. Coetzee; J. M. Coetzee, whose most recent novel is ”Life & Times of Michael K,” teaches at the University of Cape Town.
Lead:

WHEN a colony is founded, wrote Nathaniel Hawthorne in ”The Scarlet Letter,” ”among [ the ] earliest practical necessities [ is ] to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison.” Prisons – Hawthorne called them the black flowers of civilized society – burgeon all over the face of South Africa. They may not be sketched or photographed, under threat of severe penalty. I have no idea whether laws against visual representations of prisons exist in other countries. Very likely they do. But in South Africa such laws have a particular symbolic appropriateness, as though it were decreed that the camera lens must shatter at the moment it is trained on certain sites; as though the passer-by shall have no means of confirming that what he saw – those buildings rising out of the sands in all their sprawl of gray monotony – was not a mirage or a bad dream.

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Greed (2020)

This sunny, profane satire centers on the 60th birthday party of a ruthless yet sporadically charming fashion industry billionaire, Sir Richard “Greedy” MacCreadie (Steve Coogan). David Mitchell plays Nick Morris, a shy, self-effacing but ultimately contemptible writer hired to act as Greedy’s hagiographer. The build-up is promising, layering flashbacks to Greedy’s rise into the oligarchy with Morris’s information gathering and the preparations for the party, an elaborate affair set against Greece’s pristine shores.

Greedy’s staff struggles to pull it off, particularly with regard to the decidedly unscenic presence of Syrian refugees camped out nearby. The fact that all of Greece’s beaches are public makes it ultimately impossible to legally eject them. This is but one obstacle among others, including a nauseated lion, EU labor regulations, and the reluctance of certain coveted celebrities to attend the celebration.

Without giving too much away, at the story’s climax writer/director Michael Winterbottom satisfies one of the audience’s vengeful desires only to pull his punches, denying us the knockout blow. This lackluster denouement has as much to do with the limits of realism in representing the enormity of global capitalism as it does with the film’s liberal politics, which are capable of condemning injustice while ultimately doing nothing about it. In this sense Nick Morris is Winterbottom, clearly aware of the savagery of the people and economic forces he describes yet lacking the wherewithal to intervene decisively against them.

A story of underclass vengeance against the system that fattens the .001% at the expense of the health and dignity of workers would necessitate a leap into the surreal, some means of representation that could give commensurable form to the incommensurable totality of the Free Market. Even so, Greed is funny and dark, and definitely worth watching. 

 

You’re Fired

Far from a question of liberal politics, today’s cultural liberalism is identified far more by a moral framework of consumer choices, consumption habits, personal behaviors, and an obsession with displays of multicultural tolerance and surface-level diversity than any of its overtly political positions, which in reality are a largely settled matter. In fact, pretending those liberal political positions haven’t been settled and are instead under some sort of constant threat tends to be another primary feature of today’s hegemonic cultural liberalism.

https://forward.com/opinion/459819/what-david-sedaris-failed-joke-exposed-about-liberals-after-trump/

The Terror of History (303/415)

The Terror of History:
Riddley Walker

by David Cowart

Excerpt (pages 83-105, 220-21) from David Cowart, History and the Contemporary Novel (Carbondale, Illinois: Southern Illinois University Press, 1989). Copyright 1989 by the Board of Trustees, Southern Illinois University. Reprinted by permission of the publisher.


Winston Churchill, commenting on the atomic bomb, remarked that “the stone age may return on the gleaming wings of science.” In Riddley Walker, Russell Hoban imagines Churchill’s prophecy as fulfilled and looks to the moment in the postholocaust future when humanity, well into its second Iron Age, begins once again to pursue knowledge that will destroy it. Hoban conceives of history as something tragically lost in this blighted future, and in part his story concerns a culturewide yearning to know the more splendid past. He imagines a primitive society surrounded by evidence of its more civilized origins. Thus two antithetical conceptions of past time—primitive and civilized—coexist within the novel and constitute a dialectic in terms of which Hoban examines “the terror of history”—Mircea Eliade’s phrase for the suspicion or conviction that history answers to no transcendent rationale.1

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