From an e-flux email:

CRITIQUE OF CREATIVE INDUSTRIES
An international seminar and workshop in Helsinki from August 31st to September 2nd, 2006

http://www.framework.fi
http://transversal.eipcp.net

"When Adorno and Horkheimer wrote their famous Dialectics of Enlightenment in 1944 they also coined the concept of cultural industry. In a chapter titled “The Cultural Industry: Enlightenment as Mass Deception” they laid the ground for their fundamental critique of culture as a component of a new form of totalitarian oppression. Around 1968 the concept was again put to the foreground to criticize the repressive functions of mass media especially, but in the course of the following decades it slowly voided of its critical content. During those years it was adopted as just another principle of neoliberal cultural politics: In a completely transformed manner the concept of the Frankfurt School was (mis-)used as a key concept of Blairist cultural politics and made its way back to the continent at the end of the 1990s. With the help of blockbusters like Richard Florida's “Creative Class” it became a feature of urban and economic development plans in many European cities, and finall y arrived on the agenda of the cultural politics of the European Union."

Reading the exhibition catalog from "out of site: fictional architectural spaces," I came across a quote by Walter Benjamin, which seems to sum up the idea of the "losing truths" that I was discussing today with a friend in talking about the Museum of Jurassic Technology. (Specifically, how it's a museum of the truths that didn't win out because other cultural constructions overtook or usurped their authority...)

From Illuminations:

"Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably."

Reading the exhibition catalog from "out of site: fictional architectural spaces," I came across a quote by Walter Benjamin, which seems to sum up the idea of the "losing truths" that I was discussing today with a friend in talking about the Museum of Jurassic Technology. (Specifically, how it's a museum of the truths that didn't win out because other cultural constructions overtook or usurped their authority...)

From Illuminations:

"Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably."

Reading the exhibition catalog from "out of site: fictional architectural spaces," I came across a quote by Walter Benjamin, which seems to sum up the idea of the "losing truths" that I was discussing today with a friend in talking about the Museum of Jurassic Technology. (Specifically, how it's a museum of the truths that didn't win out because other cultural constructions overtook or usurped their authority...)

From Illuminations:

"Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably."

Reading the exhibition catalog from "out of site: fictional architectural spaces," I came across a quote by Walter Benjamin, which seems to sum up the idea of the "losing truths" that I was discussing today with a friend in talking about the Museum of Jurassic Technology. (Specifically, how it's a museum of the truths that didn't win out because other cultural constructions overtook or usurped their authority...)

From Illuminations:

"Every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably."

An excellent editorial by Stanley Fish on the definition and defense(s) of academic freedom.

Conspiracy Theories 101 - New York Times: "The distinction I am making — between studying astrology and proselytizing for it — is crucial and can be generalized; it shows us where the line between the responsible and irresponsible practice of academic freedom should always be drawn. Any idea can be brought into the classroom if the point is to inquire into its structure, history, influence and so forth. But no idea belongs in the classroom if the point of introducing it is to recruit your students for the political agenda it may be thought to imply.

...Thus the question Provost Farrell should put to Mr. Barrett is not “Do you hold these views?” (he can hold any views he likes) or “Do you proclaim them in public?” (he has that right no less that the rest of us) or even “Do you surround them with the views of others?”

Rather, the question should be: “Do you separate yourself from your partisan identity when you are in the employ of the citizens of Wisconsin and teach subject matter — whatever it is — rather than urge political action?” If the answer is yes, allowing Mr. Barrett to remain in the classroom is warranted. If the answer is no, (or if a yes answer is followed by classroom behavior that contradicts it) he should be shown the door. Not because he would be teaching the “wrong” things, but because he would have abandoned teaching for indoctrination.

The advantage of this way of thinking about the issue is that it outflanks the sloganeering and posturing both sides indulge in: on the one hand, faculty members who shout “academic freedom” and mean by it an instructor’s right to say or advocate anything at all with impunity; on the other hand, state legislators who shout “not on our dime” and mean by it that they can tell academics what ideas they can and cannot bring into the classroom.

All you have to do is remember that academic freedom is just that: the freedom to do an academic job without external interference. It is not the freedom to do other jobs, jobs you are neither trained for nor paid to perform. While there should be no restrictions on what can be taught — no list of interdicted ideas or topics — there should be an absolute restriction on appropriating the scene of teaching for partisan political ideals. Teachers who use the classroom to indoctrinate make the enterprise of higher education vulnerable to its critics and shortchange students in the guise of showing them the true way."

An excellent editorial by Stanley Fish on the definition and defense(s) of academic freedom.

Conspiracy Theories 101 - New York Times: "The distinction I am making — between studying astrology and proselytizing for it — is crucial and can be generalized; it shows us where the line between the responsible and irresponsible practice of academic freedom should always be drawn. Any idea can be brought into the classroom if the point is to inquire into its structure, history, influence and so forth. But no idea belongs in the classroom if the point of introducing it is to recruit your students for the political agenda it may be thought to imply.

...Thus the question Provost Farrell should put to Mr. Barrett is not “Do you hold these views?” (he can hold any views he likes) or “Do you proclaim them in public?” (he has that right no less that the rest of us) or even “Do you surround them with the views of others?”

Rather, the question should be: “Do you separate yourself from your partisan identity when you are in the employ of the citizens of Wisconsin and teach subject matter — whatever it is — rather than urge political action?” If the answer is yes, allowing Mr. Barrett to remain in the classroom is warranted. If the answer is no, (or if a yes answer is followed by classroom behavior that contradicts it) he should be shown the door. Not because he would be teaching the “wrong” things, but because he would have abandoned teaching for indoctrination.

The advantage of this way of thinking about the issue is that it outflanks the sloganeering and posturing both sides indulge in: on the one hand, faculty members who shout “academic freedom” and mean by it an instructor’s right to say or advocate anything at all with impunity; on the other hand, state legislators who shout “not on our dime” and mean by it that they can tell academics what ideas they can and cannot bring into the classroom.

All you have to do is remember that academic freedom is just that: the freedom to do an academic job without external interference. It is not the freedom to do other jobs, jobs you are neither trained for nor paid to perform. While there should be no restrictions on what can be taught — no list of interdicted ideas or topics — there should be an absolute restriction on appropriating the scene of teaching for partisan political ideals. Teachers who use the classroom to indoctrinate make the enterprise of higher education vulnerable to its critics and shortchange students in the guise of showing them the true way."

An Exhibition About Drawing Conjures a Time When Amateurs Roamed the Earth - New York Times: "Inside"

"In a new memoir, “Let Me Finish,” Roger Angell recalls trips to the Polo Grounds and Yankee Stadium in the 1930’s with his father, who also liked to join pickup games when middle-age American men still did that. Today baseball is like the arts, with grown-ups mostly preferring not to break a sweat. “We know everything about the game now, thanks to instant replay and computerized stats, and what we seem to have concluded is that almost none of us are good enough to play it,” Mr. Angell writes.

So it is with classical music, painting and drawing, professional renditions of which are now so widely available that most people probably can’t or don’t imagine there’s any point in bothering to do these things themselves. Communities of amateurs still thrive, but they are self-selecting groups. A vast majority of society seems to presume that culture is something specialists produce.

Rembrandt Peale published one of the drawing manuals in the Grolier Club show. Besides being an artist, Peale became Pennsylvania’s first high school art teacher in the 1830’s, hired by Alexander Dallas Bache, a grandson of Benjamin Franklin. People, Franklin pointed out, can often “express ideas more clearly with a lead pencil or a bit of chalk” than with words. “Drawing is a kind of universal language, understood by all nations,” he reminded Americans.

We have given it up, at a cost that, as Franklin might have put it, is beyond words. Mr. Angell goes on in his book to say that television and sports journalism have taught us all about the skills and salaries and private lives of professional ballplayers, on whom we now focus, instead of playing the game ourselves.

As a consequence, he writes, “we don’t like them as much as we once did, and we don’t like ourselves much, either.”

You can draw the analogy."

An Exhibition About Drawing Conjures a Time When Amateurs Roamed the Earth - New York Times: "Inside"

"In a new memoir, “Let Me Finish,” Roger Angell recalls trips to the Polo Grounds and Yankee Stadium in the 1930’s with his father, who also liked to join pickup games when middle-age American men still did that. Today baseball is like the arts, with grown-ups mostly preferring not to break a sweat. “We know everything about the game now, thanks to instant replay and computerized stats, and what we seem to have concluded is that almost none of us are good enough to play it,” Mr. Angell writes.

So it is with classical music, painting and drawing, professional renditions of which are now so widely available that most people probably can’t or don’t imagine there’s any point in bothering to do these things themselves. Communities of amateurs still thrive, but they are self-selecting groups. A vast majority of society seems to presume that culture is something specialists produce.

Rembrandt Peale published one of the drawing manuals in the Grolier Club show. Besides being an artist, Peale became Pennsylvania’s first high school art teacher in the 1830’s, hired by Alexander Dallas Bache, a grandson of Benjamin Franklin. People, Franklin pointed out, can often “express ideas more clearly with a lead pencil or a bit of chalk” than with words. “Drawing is a kind of universal language, understood by all nations,” he reminded Americans.

We have given it up, at a cost that, as Franklin might have put it, is beyond words. Mr. Angell goes on in his book to say that television and sports journalism have taught us all about the skills and salaries and private lives of professional ballplayers, on whom we now focus, instead of playing the game ourselves.

As a consequence, he writes, “we don’t like them as much as we once did, and we don’t like ourselves much, either.”

You can draw the analogy."

An Exhibition About Drawing Conjures a Time When Amateurs Roamed the Earth - New York Times: "In a new memoir, “Let Me Finish,” Roger Angell recalls trips to the Polo Grounds and Yankee Stadium in the 1930’s with his father, who also liked to join pickup games when middle-age American men still did that. Today baseball is like the arts, with grown-ups mostly preferring not to break a sweat. “We know everything about the game now, thanks to instant replay and computerized stats, and what we seem to have concluded is that almost none of us are good enough to play it,” Mr. Angell writes.

So it is with classical music, painting and drawing, professional renditions of which are now so widely available that most people probably can’t or don’t imagine there’s any point in bothering to do these things themselves. Communities of amateurs still thrive, but they are self-selecting groups. A vast majority of society seems to presume that culture is something specialists produce.

Rembrandt Peale published one of the drawing manuals in the Grolier Club show. Besides being an artist, Peale became Pennsylvania’s first high school art teacher in the 1830’s, hired by Alexander Dallas Bache, a grandson of Benjamin Franklin. People, Franklin pointed out, can often “express ideas more clearly with a lead pencil or a bit of chalk” than with words. “Drawing is a kind of universal language, understood by all nations,” he reminded Americans.

We have given it up, at a cost that, as Franklin might have put it, is beyond words. Mr. Angell goes on in his book to say that television and sports journalism have taught us all about the skills and salaries and private lives of professional ballplayers, on whom we now focus, instead of playing the game ourselves.

As a consequence, he writes, “we don’t like them as much as we once did, and we don’t like ourselves much, either.”

You can draw the analogy."

http://www.nytimes.com/2006/07/09/opinion/09horwitz.html?pagewanted=2&th&emc=th

" While it's true that our language and laws reflect English heritage, it's also true that the Spanish role was crucial. Spanish discoveries spurred the English to try settling America and paved the way for the latecomers' eventual success. Many key aspects of American history, like African slavery and the cultivation of tobacco, are rooted in the forgotten Spanish century that preceded English arrival.

There's another, less-known legacy of this early period that explains why we've written the Spanish out of our national narrative. As late as 1783, at the end of the Revolutionary War, Spain held claim to roughly half of today's continental United States (in 1775, Spanish ships even reached Alaska). As American settlers pushed out from the 13 colonies, the new nation craved Spanish land. And to justify seizing it, Americans found a handy weapon in a set of centuries-old beliefs known as the "black legend."

The legend first arose amid the religious strife and imperial rivalries of 16th-century Europe. Northern Europeans, who loathed Catholic Spain and envied its American empire, published books and gory engravings that depicted Spanish colonization as uniquely barbarous: an orgy of greed, slaughter and papist depravity, the Inquisition writ large.

Though simplistic and embellished, the legend contained elements of truth. Juan de Oñate, the conquistador who colonized New Mexico, punished Pueblo Indians by cutting off their hands and feet and then enslaving them. Hernando de Soto bound Indians in chains and neck collars and forced them to haul his army's gear across the South. Natives were thrown to attack dogs and burned alive.

But there were Spaniards of conscience in the New World, too: most notably the Dominican priest Bartolomé de Las Casas, whose defense of Indians impelled the Spanish crown to pass laws protecting natives. Also, Spanish brutality wasn't unique; English colonists committed similar atrocities. The Puritans were arguably more intolerant of natives than the Spanish and the Virginia colonists as greedy for gold as any conquistador. But none of this erased the black legend's enduring stain, not only in Europe but also in the newly formed United States.

"Anglo Americans," writes David J. Weber, the pre-eminent historian of Spanish North America, "inherited the view that Spaniards were unusually cruel, avaricious, treacherous, fanatical, superstitious, cowardly, corrupt, decadent, indolent and authoritarian."

When 19th-century jingoists revived this caricature to justify invading Spanish (and later, Mexican) territory, they added a new slur: the mixing of Spanish, African and Indian blood had created a degenerate race. To Stephen Austin, Texas's fight with Mexico was "a war of barbarism and of despotic principles, waged by the mongrel Spanish-Indian and Negro race, against civilization and the Anglo-American race." It was the manifest destiny of white Americans to seize and civilize these benighted lands, just as it was to take the territory of Indian savages.

From 1819 to 1848, the United States and its army increased the nation's area by roughly a third at Spanish and Mexican expense, including three of today's four most populous states: California, Texas and Florida. Hispanics became the first American citizens in the newly acquired Southwest territory and remained a majority in several states until the 20th century.

By then, the black legend had begun to fade. But it seems to have found new life among immigration's staunchest foes, whose rhetoric carries traces of both ancient Hispanophobia and the chauvinism of 19th-century expansionists. "

Immigration — and the Curse of the Black Legend - New York Times: "While it's true that our language and laws reflect English heritage, it's also true that the Spanish role was crucial. Spanish discoveries spurred the English to try settling America and paved the way for the latecomers' eventual success. Many key aspects of American history, like African slavery and the cultivation of tobacco, are rooted in the forgotten Spanish century that preceded English arrival.

There's another, less-known legacy of this early period that explains why we've written the Spanish out of our national narrative. As late as 1783, at the end of the Revolutionary War, Spain held claim to roughly half of today's continental United States (in 1775, Spanish ships even reached Alaska). As American settlers pushed out from the 13 colonies, the new nation craved Spanish land. And to justify seizing it, Americans found a handy weapon in a set of centuries-old beliefs known as the 'black legend.'

The legend first arose amid the religious strife and imperial rivalries of 16th-century Europe. Northern Europeans, who loathed Catholic Spain and envied its American empire, published books and gory engravings that depicted Spanish colonization as uniquely barbarous: an orgy of greed, slaughter and papist depravity, the Inquisition writ large.

Though simplistic and embellished, the legend contained elements of truth. Juan de O�ate, the conquistador who colonized New Mexico, punished Pueblo Indians by cutting off their hands and feet and then enslaving them. Hernando de Soto bound Indians in chains and neck collars and forced them to haul his army's gear across the South. Natives were thrown to attack dogs and burned alive.

But there were Spaniards of conscience in the New World, too: most notably the Dominican priest Bartolom�de Las Casas, whose defense of Indians impelled the Spanish crown to pass laws protecting natives. Also, Spanish brutality wasn't unique; English colonists committed similar atrocities. The Puritans were arguably more intolerant of natives than the Spanish and the Virginia colonists as greedy for gold as any conquistador. But none of this erased the black legend's enduring stain, not only in Europe but also in the newly formed United States.

'Anglo Americans,' writes David J. Weber, the pre-eminent historian of Spanish North America, 'inherited the view that Spaniards were unusually cruel, avaricious, treacherous, fanatical, superstitious, cowardly, corrupt, decadent, indolent and authoritarian.'

When 19th-century jingoists revived this caricature to justify invading Spanish (and later, Mexican) territory, they added a new slur: the mixing of Spanish, African and Indian blood had created a degenerate race. To Stephen Austin, Texas's fight with Mexico was 'a war of barbarism and of despotic principles, waged by the mongrel Spanish-Indian and Negro race, against civilization and the Anglo-American race.' It was the manifest destiny of white Americans to seize and civilize these benighted lands, just as it was to take the territory of Indian savages.

From 1819 to 1848, the United States and its army increased the nation's area by roughly a third at Spanish and Mexican expense, including three of today's four most populous states: California, Texas and Florida. Hispanics became the first American citizens in the newly acquired Southwest territory and remained a majority in several states until the 20th century.

By then, the black legend had begun to fade. But it seems to have found new life among immigration's staunchest foes, whose rhetoric carries traces of both ancient Hispanophobia and the chauvinism of 19th-century expansionists."

"Prosperity is the best protector of principle."
- Mark Twain -

"Prosperity is the best protector of principle."
- Mark Twain -

Oddly Enough News Article | Reuters.com: "www.instoresnow.nl

"I was getting sick and tired of advertising everywhere," Balai told reporters. "But I don't want to preach, and I thought satire would work better."

Far from taking his ideas as a joke, an Amsterdam zoo had its lawyer threaten Balai with a defamation suit after his website depicted fish from the zoo bearing the brand name of a frozen fish company.

Prospective customers phoning his fake agency are kept on hold and bombarded with sales pitches until they give up."

From the Times: market predicting tools on the Internet. The real estate one worries me that it may only make it more difficult for people to own their own homes as more investors decide to speculate on property values...

Airfares Made Easy (or Easier) - New York Times: "One such site introduced this year was Zillow.com, the real estate voyeur's guilty pleasure. It mines data in county land records to hazard a guess on the value of 65 million homes across the United States. The Seattle company says its 'Zestimate' is within 10 percent of the selling price of a home, though many users have noted that the inaccuracy of the public records distorts the price estimates. Nevertheless, it is popular. In May, it had 2.4 million visitors, according to comScore, making it the ninth-most-visited real estate site."