Ive only just discovered QualiaSoup, an artist and thinker whose YouTube videos present the case for rational, critical thinking and the scientific method. It’s excellent stuff, that anyone with religious hang-ups, belief in the “supernatural,” tolerance of backward ideas in the interests of “open-mindedness” and indeed quite a few people who consider themselves “Marxists,” would do well to watch and ponder. Here’s an example:
P.S: It transpires that QualiaSoup has a brother, TheraminTrees (!)
The Perverts Guide to Ideology, reviewed by Matt Cooper at the Workers Liberty website:
It is difficult not to warm to a film that places a radical left wing philosopher into mock ups of various film sets to lecture on his theory of ideology. That is what film maker Sophie Fiennes has done with Slavoj Žižek.
So we have Žižek dressed as a priest talking about the ideology of fascism in the mother superior’s room from The Sound of Music, about the vampiric attitude of the ruling class towards the working class in the lifeboat from Titanic and about the nature of political violence in Travis Bickle’s single iron bed from Taxi Driver. All of this is amusing enough and makes a long and in places opaque lecture pass pleasantly enough, but the ideas that underlie it are rotten.
Slavoj Žižek has been proclaimed by some as the greatest political philosopher of the late twentieth century — there is even an International Journal of Žižek Studies. His work is popular with a layer of the radical left, although maybe the kind who consumes rather than acts on their politics.
He has somewhat replaced Chomsky as the author of the coffee table books of choice for the armchair radical, and he sold out the Royal Festival Hall when he spoke there in 2010.
His ideas have been developed in a series of books since the late 1980s, and fit with the themes of anti-globalisation, Occupy, and other radical struggles that are often one side of class struggle.
It is noticeable that Žižek does not attack capitalism as such. The exploitation of workers as workers is notably missing from this film. Rather he attacks consumerism, particular in its Coca-Cola/Starbucks form. This is despite, or maybe because, his philosophy is obtuse.
Although Žižek places himself in the revolutionary tradition and draws on Marx, he does not see himself primarily as a Marxist. He says he wants to reinvigorate German idealist philosophy, particularly that of Hegel, through the application of the French post-Freudian, Jacques Lacan.
There is no feeling in this film (or in Žižek’s numerous books) that this view emerges from a study of society and the forms of ideology in it. Rather, consistent with his idealist philosophical approach, the ideas emerge from the realm of pure thought, albeit cut with some empirically based psychoanalytic theory The world is sampled, squeezed and (mis)interpreted to fit this theoretical view.
His evidence about society is what many of us would not think of as evidence — mainly film. This is not an affectation, but central to Žižek’s view of the world. Ideology is fantasy, and film is the purest form of the projection of such fantasy. Film is not the mirror which we hold up to ourselves, but feeds us the fantasies by which we constitute ourselves. The films are, for Žižek, reality. Thus M*A*S*H and Full Metal Jacket are used to understand the American military, Brief Encounter the nature of social control, and Jaws, fascism!
To say that the shark in Jaws stands for nothing other than fear itself is hardly a startling insight. Alfred Hitchcock spoke in similar terms about how the purpose of his films was not essentially narrative or plot, but to create an emotional response in the viewer. To say this kind of work gives us an insight into how the Nazis scapegoated the Jews is little short of ridiculous.
Onto his argument, Žižek bolts some bits of other people’s theories as if they were his insights. So he goes on to say that underlying the fantasy of Nazi ideology was one of a modernising revolution that preserved tradition. But the idea of fascism being “reactionary modernism” was asserted by Jeffrey Herf in 1984, and has antecedents stretching back to the 1930s.
Similarly, Žižek’s assertion that the riots in the UK were driven by consumerism (the “wrong dream”) is both unoriginal and, in Žižek’s case, seems to be based on the most casual of acquaintance with the evidence.
The Pervert’s Guide to Ideology also demonstrates a wilful failure to engage with a Marxist understanding of ideology. In this film (and elsewhere) Žižek has dismissed the Marxist theory of ideology which he claims can be summarised by Marx as “they do not know it but they are doing it”. The line is a rather obscure one (from the first German edition of volume one of Capital, but not in future editions).
Nor is the line directly about ideology; the “it” here is people producing exchange values for the market. For sure, this has a relationship to ideology, Marx argues that it obscures the real nature of production to satisfy human needs, a veil that will only be lifted by once production is carried out by “feely socialised man under their conscious, planned control.” But the Marxist view of ideology based on the nature of social life is not understood, far less developed, by Žižek.
For Žižek both the nature of ideology and the liberation of humanity is based on the idea of fantasy. For him, people’s relation to ideology-fantasy is “I know very well what I am doing but am I still doing it.” The project of liberation is not to end fantasy, but to replace it with a better fantasy, or to dream with the right desire.
Thus Žižek goes down the road of anarchist cliché, we should “be realistic, demand the impossible”, and he argues that the dream should not be of wanting the working class to awake, but that new dreams and revolution become a subjective act of will.
Žižek’s politics are, ultimately, mere fantasy.
…about jazz and much else…
Above: Murray (left) and friend Ralph Ellison
By Eugene Holley (at npr’s a blog supreme)
An essayist, cultural theorist, novelist, educator and biographer who died on August 18 at 97, Albert Murray spent more than five decades developing his thesis that America is a culturally miscegenated nation. His contention was that blacks are part white, and vice versa: that both races, in spite of slavery and racism, have borrowed from and created each other. In all of his writing, jazz music — derived from the blues idiom of African-Americans — was the soundtrack at the center of his aesthetic conception.
For the Alabama-bred, Tuskegee Institute-educated, New York-based Murray — and his Tuskegee classmate and aesthetic fellow traveler Ralph Ellison, author of Invisible Man — jazz was “the embodiment of the American experience, the American spirit, the American ideal,” he is quoted as saying in Jazz: A History of America’s Music, the companion book to the PBS documentary series for which he served as commentator and artistic consultant. It was the creation of a sepia panorama of black, brown and beige people, partially descended from Africa but fully Euro-American in outlook, character and aspiration.
“The omni-Americans are the Americans. My conception makes Americans identify with all their ancestors.” —interview in American Heritage, September 1996
To fully understand Albert Murray’s jazz aesthetic, a vital part of the worldview he called “Cosmos Murray,” you have to read his first book, The Omni-Americans (1970). The collection of essays counter-states “the folklore of white supremacy and the fakelore of black pathology” as social-science fictions that dehumanize black people as inferior. “American culture, even in its most rigidly segregated precincts, is patently and irrevocably composite,” he writes.
In The Omni-Americans, Murray critiques black authors Richard Wright and James Baldwin for creating clichéd views of black life; Afrocentric romanticism and the separatist tendencies of Black Nationalism; and well-meaning but paternalizing U.S. inner city social programs. Murray’s answer to such folly is the blues: home-grown black music that acknowledges the “essentially tenuous nature of all human existence … through the full, sharp and inescapable awareness of them.” In the subsequent essay collection The Hero and the Blues (1973), Murray celebrates the bluesman as an epic hero who, in his tragicomic lyricism, confronts the difficulties of life through the creation of a resilient art.
“We invented the blues; Europeans invented psychoanalysis. You invent what you need.” —interview in American Heritage, September 1996
Musically speaking, all this leads up to Stomping the Blues (1976). Beautifully illustrated with vivid period photos, LP covers and broadsides of black jazz icons, Stomping represents the zenith of his writing on the subject. Eschewing a bleak sociological approach for affirmative, literary prose, Murray celebrates jazz as the most advanced and comprehensive blues-derived art form, one which ritualistically provides people with “equipment for living.” The music serves as a “stylistic code for representing the most difficult conditions, but also provides a strategy for living with and triumphing over those conditions with dignity, grace, and elegance.” In other words, one does not kill the blues, but one can, by what he called “the velocity of celebration,” stomp the blues to keep them at bay.
In Stomping, Murray portrays African-American musicians like bandleader Duke Ellington, singers Jimmy Rushing and Ella Fitzgerald, and saxophonists Lester Young and Johnny Hodges as courageous blues stompers. Their artistry is “a synthesis of African and European elements, the product of an African sensibility in an American mainland situation.” Musicologically, Murray also examines jazz in its myriad locales, inventions and dimensions, from New Orleans and Chicago to Kansas City and Harlem, and how it grew from a folk art to a fine art, “stylized into aesthetic statement.”
Murray also co-wrote Good Morning Blues (1985), the intimate autobiography of the pianist and bandleader Count Basie. It covers the halcyon days of Kansas City in the ’30s, where Negro territory bands reigned supreme and where Basie — who hailed from the East Coast — transformed his stride-style piano into the rugged, 4/4 swing that characterized the driving Kansas City sound. The Blue Devils of Nada (1996) features more impassioned essays on Duke Ellington, Louis Armstrong and his friend, collage artist Romare Bearden. Jazz and the blues also color his quartet of semi-autobiographical novels, starting with Train Whistle Guitar (1974), a coming-of-age chronicle of a boy named Scooter who hails from Alabama, grows up to be a college-educated bassist and leaves home to find fame in Harlem-like Philamayork.
“Jazz is only possible in a culture of freedom.” —from Jazz: A History of America’s Music
Though Murray was not as well-known as his contemporaries Ralph Ellison, James Baldwin and Toni Morrison, his work not only lives on in his books, but also in well-known Murray-ites. Writer and cultural critic Stanley Crouch, whose long-awaited biography of Charlie Parker will be published in September, is a prominent one. Another is Wynton Marsalis, the celebrated musician and artistic and managing director of Jazz at Lincoln Center; the well-known jazz performance venue was largely built on Murray’s philosophical and musicological ethos. “He’s my mentor, but it’s more than that,” Marsalis told Newsweek. “Stomping the Blues had a profound impact on me in terms of understanding the context of the art form and the society.”
In the 21st century, Murray’s omni-American idea — that the U.S. is a composite nation of culturally multiracial people — still deeply resonates in today’s browning, globally connected world. He used jazz to shine a light upon these lesser-seen pockets of American culture — the ones that he believed unite us all.
Guardian obit, here
Fascinating interview with Murray at The Ralph Ellison Project, here
Regulars will know that us Shirazers are not big fans of Noam Chomsky. But back in December 2012 he gave an interview that warmed the cockles of our collective heart, slamming, amongst others, those two verbose charlatans Žižek and Lacan:
Mike Springer (at Open Culture) writes:
Noam Chomsky’s well-known political views have tended to overshadow his groundbreaking work as a linguist and analytic philosopher. As a result, people sometimes assume that because Chomsky is a leftist, he would find common intellectual ground with the postmodernist philosophers of the European Left.
In this brief excerpt from a December, 2012 interview with Veterans Unplugged, Chomsky is asked about the ideas of Slavoj Žižek, Jacques Lacan and Jacques Derrida. The M.I.T. scholar, who elsewhere has described some of those figures and their followers as “cults,” doesn’t mince words:
What you’re referring to is what’s called “theory.” And when I said I’m not interested in theory, what I meant is, I’m not interested in posturing–using fancy terms like polysyllables and pretending you have a theory when you have no theory whatsoever. So there’s no theory in any of this stuff, not in the sense of theory that anyone is familiar with in the sciences or any other serious field. Try to find in all of the work you mentioned some principles from which you can deduce conclusions, empirically testable propositions where it all goes beyond the level of something you can explain in five minutes to a twelve-year-old. See if you can find that when the fancy words are decoded. I can’t. So I’m not interested in that kind of posturing. Žižek is an extreme example of it. I don’t see anything to what he’s saying. Jacques Lacan I actually knew. I kind of liked him. We had meetings every once in awhile. But quite frankly I thought he was a total charlatan. He was just posturing for the television cameras in the way many Paris intellectuals do. Why this is influential, I haven’t the slightest idea. I don’t see anything there that should be influential.
via Leiter Reports
Oh, goody goody! Žižek has replied…(and makes some fair points about Chomsky’s record), here
Further comment on the spat, at Open Culture
Von Trotta is eager to fight Arendt’s battles, but time and again shows that she is no more equipped to understand them than [Mary] McCarthy was. Especially clumsy is her attempt to correlate Arendt’s philosophy to a contemporary posture toward Israel. Despite von Trotta’s having Arendt refer to her Zionism as a “youthful folly”, the political picture has simply changed too much for an overlay of Arendtian acetate paper to mean anything.
The Yad Vashem footage and Hannah Arendt are not the only film releases to explore Arendt’s legacy, or Eichmann’s. At this year’s Cannes Film Festival, Claude Lanzmann premiered his documentary The Last of the Unjust. More than three-and-a-half hours long, the film is a series of outtakes from Lanzmann’s monumental Shoah, all of them featuring Benjamin Murmelstein, a Nazi-appointed “Jewish Elder”, who speaks about the choices he had to make while running the Czechoslovakian concentration camp Theresienstadt; at one point, he describes himself as a “marionette that had to pull its own strings”.
Murmelstein is a figure like those that Arendt implicated in Eichmann in Jerusalem, where she alleged that the co-operation of leaders of the Judenräte (Jewish councils) with the Nazis expedited their own annihilation. Murmelstein’s reflections make Arendt’s wholesale indictment of those in his position seem unjust.
And so the Arendtian myth suffers a bit, on one end from Lanzmann’s repudiations and on the other from von Trotta’s anaemic boosterism. The best outcome would be a recalibration of her legacy, one acknowledging that her literary inclinations (nurtured by her friend Mary McCarthy) occasionally overtook her philosophical principles.
Read the full article here.
I haven’t seen the film and so cannot comment upon whether Lurie’s criticism is fair. But I’m grateful to her for reminding us that we don’t have to take Arendt’s word for it regarding Eichman’s “banality” as supposedly demonstrated at his trial: we can see, and judge, for ourselves, thanks to the extraordinary and inevitably highly disturbing Yad Vashem footage:
Radio 4′s excellent Soul Music series today dealt with Peggy Lee’s 1969 recording of ’Is That All There Is?’, one of the strangest and most enigmatic chart hits ever.
Soul Music takes takes a piece of music or a particular performance, and simply carries interviews with people (some directly connected to the music/performance, others not) about what it means to them. It’s often very moving.
The interviewees today had very different interpretations of what the song, and Ms Lee’s performance, meant…
Hope or despair? For or against suicide? Existential angst or a simple statement that friends and family are all that really matter in the end?
One person we didn’t hear from was Peggy Lee herself: she died in 2002. But here’s what she wrote in her autobiography:
‘Is that all there is, is that all there is?
If that’s all there is my friend, then let’s keep dancing
Let’s break out the booze and have a ball,
If that’s all there is…’
I picked up the needle from the demo record on the turntable and said to Snooky Young, ‘Isn’t that wonderful?’
‘Thats’s a weird song,’ he said. ‘You going to sing that?’
‘Yes, I think so. I can’t get it off my mind.’
‘Well, you do all those kind of arty songs and people seem to love them…’
I thought of ‘Don’t Smoke in Bed’ and a few others and remembered how I often had to fight to get to do things I believed in, but little did I know at the time what a battle I’d have with ‘Is That All There Is?’ Before this, its authors, Jerry Leiber and Mike Stoller, had written ‘I’m A Woman’, truly my cup of tea, and, of course, their huge success, Elvis Presley’s record of ‘You Ain’t Nothing But a Hound Dog’ (although I still think ‘I’m a Woman’ was more colourful, filled as it was with word-pictures, and it did swing).
When I came to record ‘Is That All there Is?’ there was resistance everywhere. They said it was too far out, they said it was too long, they said and they said … So I went to Glenn Wallichs with a demo record (something I hadn’t done before), and Glenn seemed embarrassed. ‘Peggy, you don’t have to play a demo, you helped build this Capitol Tower. You just record anything you want.’
Delighted to hear it, Jerry and Mike and I set about doing just that. Earlier, Johnny Mandel had brought me one of Randy Newman’s very first albums, telling me, ‘You’ll love this fellow,’ which I did, and asked him to write the arrangement. It turned out to be perfect for his style.
So now the record was made, our faith in it ran high — I couldn’t believe my ears when Capitol Records said they were turning thumbs down on it.
Is that all there is?
No, because, fortunately, there was a television show they wanted me to do, which I wasn’t keen about. Well, you know what I did. I said, ‘Yes, if you’ll release this record, I’ll do the show,’ and they agreed.
Hallelujah. It became a hit, went ‘across the board’, but that’s not all there is to it. It dramatized for me what my life had been and would continue to be, a struggle, sometimes for things more serious than a song, but the lesson was there — stick to your guns, believe, and more than you ever imagined can happen.
Wikipedia, however, states:
The song was inspired by the 1896 story Disillusionment (Enttäuschung) by Thomas Mann. The narrator in Mann’s story tells the same stories of when he was a child. A dramatic adaptation of Mann’s story was recorded by Erik Bauserfeld and Bernard Mayes …
One difference between the story and the song is that the narrator in Mann’s story finally has a sensation to feel free when he sees the sea for the first time and laments for a sea without a horizon. Most of the words used in the song’s chorus are taken verbatim from the narrator’s words in Mann’s story.
Judge for yourself:
Guest post by Robin Carmody