Can’t Get You Out Of My Head

Reflections On The Work Of Adam Curtis

Adam Curtis considers his films to be strictly journalism. 

Having unlimited access to the vast archives of the BBC library, Curtis snips and cuts the myriad fragments of visual history to arrange them around themes guided by his own narrative and analysis. To relegate these works to the narrow field of conventional reporting would be to entirely miss their import and effect. The subjects of his films dive deeply into the wilderness of inherent contradictions between reality and the artificial reproductions of reality, between fact and imagination, between linear narrative and memory, and the many ways we rearrange our perceptions of reality to serve our own agendas. His most recent work, the six part series titled Can’t Get You Out Of My Head focuses on the dialectic between historical and psychological forces that drive individuals into increased feelings of isolation and helplessness and the barriers to effective collective action.

The emotional power of well selected images poised in sharp juxtaposition has been  explored as long ago as in the montage techniques pioneered by early filmmakers like Sergei Eisenstein. The use of montage takes us out of the illusory realms of objectivity and well into the territory of ideological expression. Directors like Jean Luc Godard and the ‘underground’ filmmakers of the sixties made radical use of the technique to purposely challenge the conventions of narrative film. While their work was perceived at the time as radical, our immersion in the frenetic medium of television makes them appear prophetic. The rapid disorienting shift between scenarios, the intrusion of seemingly unrelated sequences in commercials and the use of sound as compliment and contrast has increased our ability to shift attention rapidly from one image to another without loosing the narrative thread. Adam Curtis takes advantage of the growing sophistication of our visual language while pushing the form further with each successive work, encouraging us to take larger leaps along with him.

(My favorite film makers of the sixties were the French New Wave’director Jean Luc Goddard and the English director, Nicholas Roeg. Being a contrarian by nature I was always thrilled at the premier of a Godard film on my college campus and particularly pleased when a third to half of the audience walked out in bewilderment or disgust. This I deemed an indication of the film’s success. Both Godard and Roeg used techniques of radical montage to pit direct and sometimes disjointed, emotionally charged images against the linear revelations of plot. Godard went the farthest, often rejecting the very structure of ‘beginning, middle and end’ in films like 2 Or 3 Things I Know About Her, Sympathy For The Devil and See You At Mao. Nicholas Roeg managed to corral these techniques into challenging narratives interrupted by out of synch and out of time sequences taking the viewer out of the linear present into realms of memory, imagination and pure emotion. His use of popular musical icons as actors in films like Performance and The Man Who Fell To Earth became immensely popular with the psychedelic generation. 

At least since 1992 with Pandora’s Box, followed by the more ambitious Century Of The Self and into the present Adam Curtis has employed montage with increasing ambition to deliver films that offer historical analysis along with imagery that comes across with devastating emotional impact. To Curtis the purpose of journalism is not merely to report, but to explain. His method is to distill and arrange out of the many sounds and images of a given historical period a presentation of coherent themes that persuade the viewer that his interpretation matches the reality. Journalism in this sense is the art of persuasion. 

Human beings are addicted to narrative. If presented with a random set of images our minds will eventually assemble them into stories. If we stare at a wall long enough our minds will weave narratives out of the imperfections in the paint. This is a key to the methods of psychological testing that is critiqued in much of Curtis’ work. Ironically perhaps, it’s the key to his own art and his approach to journalism. When the reporter in a war zone decides to point the lens of their camera they are continually selecting the elements of their own narrative. When Adam Curtis wades through the BBC archives the images he selects are made to fit the preconceived patterns of a story he wishes to tell. 

Episode four of his most recent work is titled ‘But what if the people are stupid.’ It’s primary theme is how our disillusionment with institutions born out of the emphasis on individualism in the sixties and seventies morphed into a retreat into nationalism in the eighties and nineties. Curtis pulls together accounts that range widely across the period, from the unsuccessful coup of the Gang Of Four in China to the somewhat tragic life of a transexual pioneer in England, the rise of Al Queda in Iraq, disappointment in the wake of the Live Aid effort and events that led to the crushing of protests in Tiananmen Square. All of these events are bracketed by accounts of psychological experiments carried on by Daniel Kahneman in the seventies leading to the thesis that people’s choices aren’t made primarily on a rational basis but are determined by their previous experiences and how they effect the deeper, mostly subconscious structures in the brain. By focusing on the personal dilemmas and contradictions faced by particular individuals against a backdrop of massive social movements Curtis dramatizes a specific and worldwide shift in our collective experience serving to frustrate our ability to organize coherent resistance to the growing power of elites. This sets us up for the next episode, ‘The Lordly Ones’, which explores the comforting national myths we construct to justify the blunders and atrocities carried out to maintain the rule of dominant capitalist elites over the rest of the world.

On the surface Curtis’ approach resembles that of an historian or archaeologist as much as that of a journalist. All are storytellers and agents of artifice, weaving our perceptions into coherent streams of interpretation and all deal with data fragments from moments gone by. The stories Adam Curtis chooses to tell center on the influence that modern psychology has  had on the manipulative techniques of advertising, the growth and dominance of consumerism, and most importantly the isolation of the individual in the shadow of the capitalist state, rendering concepts such as personal freedom and choice almost entirely irrelevant.

We’ve become helpless as collective societies to effectively act to change our circumstances. Instead, our every activity is measured, tabulated and arranged in predictive models that serve to anticipate and then to manipulate our behaviors. Human behavior has been programmed into machinery that uses algorithms to further the power and wealth of economic elites. Only by breaking free of the conceptual prison of the techno-capitalist state can we even begin to imagine a future that meets actual human needs.

Perhaps we expect that journalism and documentary gives us a more accurate glimpse of the real and the true. What we should have learned in an age of propaganda, ‘fake news’ and the Internet is that in the selection and manipulation of images just about any version of ‘reality’ can be made to appear as truth. In the view of Adam Curtis the true value of journalism is to ‘make sense’ of the world in new and original ways that evolve continually with our continual appetite for the new. This is the only way that we can cast off the oppressive chains of the past. We might do well to make his revolution our own.


Thoughtmaybe.com for access to a full catalogue of Adam Curtis Documentaries and many other worthwhile films.


An outstanding interview with Adam Curtis at: Jacobin.com

The Ministry For The Future – A Review

The Ministry For The Future
by Kim Stanley Robinson

Kim Stanley Robinson’s ‘The Ministry For The Future’ is much more than a novel. It’s a book on Revolution, the closest thing to an ecological manifesto I’ve ever read. As a work of fiction it’s even more ambitious than his much acclaimed ‘Mars’ trilogy, which could be seen as an early preparation for this book. Like the Mars books it unveils a complex weave of systems embracing every aspect from molecular biology and atmospheric science to human psychology to political and economic philosophy.

But ‘Ministry’ has no interplanetary or futuristic disguise. This is a book about the present and the immediate future of our civilization, specifically projected over the next 30 years. There are chapters on ecology, economics, geology, political philosophy, environmental devastation, human exploitation, mass extinction and geoengineering. There are chapters addressing all forms of resistance and revolution and the inevitable dismantling of capitalism through systemic collapse, civil disobedience, sabotage and assassination. Central to everything is informed speculation on the likely consequences of climate change and the forces that have already been set in motion.

The future is a puzzle and we need a framework in order to make coherent sense of our daily diet of news in the present. The philosopher Slavoj Zizek once said, “It is easier for us to imagine the end of the world than to imagine the end of capitalism.” At a time when such visioning becomes increasingly urgent, Robinson’s novel is a bold attempt to see our way to the other side of disaster.

Perhaps not since Karl Marx has there been such a bold and compressed dissection and set of proposals for the total reorganization of society toward a sustainable future.

The Ministry For The Future

A Conversation with KIM STANLEY ROBINSON:

AN INVITATION

My Publishing Career

When I was in elementary school I was given for Christmas a small printing press  that could make stuff the size of business cards or raffle tickets. I started a number of membership organizations among my classmates that could be activated simply by asking for a card: ‘The Hoppity Hooper” Fan Club,’ ‘The Rocky and Bullwinkle Fan Club,’ and our final, three color masterpiece, a membership in ‘Camp Palumbo’ along with a small certificate of the official currency, the ‘Pazzuza.’ 

Later on my neighborhood friends and I, all bing in the same Boy Scout Troop, would take each issue of the Official Boy Scout Magazine paste in alternative headlines and captions cut out of other publications and turn Boys Life into what we thought was a hysterically funny parody inspired by Mad Magazine, a publication we really took seriously.   

In high school, myself and my high-minded friends published and repeatedly got in trouble for a series of independent journals printed via mimeograph machine and silk screen press at our local Peace Movement Offices. I continued this though college and after, until moving to Santa Fe, when I got a bit more seriously embedded in the writer’s world. 

In 1984, after attempting to convert reams of handwritten notes, poetry, short stories and essays into a publishable form into typewritten documents (a frustrating process) I took a class in the new Word Processing technology at the local community college. About midway through the course the teach came into class entranced by the release of the first Apple Macintosh computer. I don’t remember what he said but his trance was somehow infectious, and before the end of the year I’d acquired my own machine and the accompanying laser printer.

For a number of years I published articles and reviews in ‘The Journal for Humanistic Psychology,’ ‘Annals of The Earth’ and ‘Shaman’s Drum’ magazine. 911 happened. I was not particularly surprised that it happened but that didn’t make me less angry. So, I started a blog, called ‘The Arclist,’ which continued view email and website for the next 20 years. After the 2016 election the list pretty much was reduced with short headline introductions to various news and resistance links and very little else. Meanwhile the host site and software became contaminated and obsolete and harder to manage, until a couple of weeks ago I decided to abandon the list in email form and rethink the whole thing. 

I was diagnosed with cancer. This marked an opportunity to rethink everything. I went though my existing contact list and entered them into another email client service that I’d learned to navigate through as a business application. More up to date and flexible and easier to manage in creative ways, I’d like to take advantage of this by setting up a new version of the Arclist, more in the tradition of a Journal that accommodates creative ideas, creative projects and creative discussions between interested folks. I think we are all somewhat anxious to move beyond obsessive focus on the disasters of this past year and turn our attention to future possibilities. Perhaps this could provide an opportunity.

I have a list of names that I’ve gleaned from my contact list. Many of you were part of the previous mailing list or were listed as a ‘friend’ on my Facebook page. Some of you might have gone away for any number of reasons. Some of you may not wish to hear from me ever again. Before engaging the new list I want to send a formal invitation for you to respond, either positively of negatively, and I will then formally activate or delete your membership. If your answer is ‘YES,’ and I hope it is, I will begin sending out my creations, or forwarding others, on some semi-regular basis.

Meanwhile, I’ve attached to this invitation a sampling of the sort of stuff you might expect to receive on the New ARCLIST. Should you wish to subscribe and get the material on this site in our email just send a reply to remelcher@arclist.com, or leave a Reply at the bottom of this page.    


My Favorite Podcasts (Current) 12/13/20

Not included are podcasts I’ve favored In the past but I’m no longer following regularly (this American Life, Masters of Scale) or podcasts that were short form or serialized or no longer being produced (‘Studio 360,’ ‘The Ballad of Billy Balls’). By ‘current’ I only mean current, and this list will continue to shift from day to day as I get turned on to new podcasts.

History

Throughline

One of NPR’s Most Popular Daytime Shows, this hour long documentary style delves into all of the corners of history we are never/rarely taught in school. To fully understand the present events in the context of historical realities the show is unmatched. The two hosts are from first and second generation Iranian and Palestinian families, which may give a clue  to the unique depth of their approach to telling stories.

The United States of Anxiety

A little scary but enlightening as it focuses on the areas in American history that indicate the conflicts that have split the body politic from the beginnings of the USA.

This Day in Esoteric Political History

Somewhat oddly named, focusing each day on a single event (many of which I’d never heard of) at a particular moment in American History, a lively and educated discussion of the event’s historical environment and its influence and indications in the present.

Politics

Hacks On Tap

Political strategists from both sides of the ‘aisle’ toss around their critiques and projections about both parties. Anchored by David Axelrod (Democrat) and Mike Murphy (very ‘anti-Trump’ Republican), with a variety of chummy guests, the analysis is delivered with a good deal of humor and real ‘insider’ knowledge of how political campaigns actually work.

FiveThirtyEight

I’ve been listening to these guys since 2015. A relief from the general alarmist nature of political news and analysis. Sometimes a bit over-the-top ‘wonky,’ I favor 538 for a strictly data-based view of political realities balanced by a crew of mostly contrarians in one form or another. I simply like these guys. As I was about to write this review, unfortunately the departure of Clare Malone is a great loss. Relative newcomer Harry Bacon Junior has brought a similar contrarian sensibility and a much needed black perspective to the panel, Malone brought an equally important feminist and Midwestern (Ohio) perspective. 

The Ticket

One of the better interview shows from The Atlantic. Host Isaac Dovere chooses subjects that are generally slightly out of the mainstream news but closer to actual events. Always new information and insights.

The Axe Files

Long form, one hour interviews of a range of public figures, illuminating their biographies and focusing on their positions in regards to contemporary politics. David Axelrod, currently head of The U. Of Chicago School of Politics and once Obama’s chief campaign adviser, is relentless in his ability to get beyond easy rhetoric to the true nature and personality of his guests.

Amicus

A bit alarmist in the ‘Slate’ style this is the best way to keep up with the arguments, decisions and implications for the future of the Judicial branch of government.

Intelligence Squared

Both sides of every question, thoroughly and respectfully debated. Particularly helpful to those in the habit of considering the ‘other side’ to be totally without brains or merit. (Note: This applies only to arguments that actually apply when a et of common facts are agreed upon.) 

Reporting

The Daily

The New York Times, in its breadth and depth of coverage is still at the top of the media heap. This podcast offers a sampling every morning, with a single news story or interview and a short headline summary. On Sunday an archived ‘feature story’ is read in entirety. I highly recommend checking out the Dec. 6th edition: “The Social Life of Trees.” 

Global News Podcast – BBC

I start the day with this one, as the focus isn’t obsessively on America and it’s ridiculous politics, it’s coverage is delivered with an almost universally cheerful, or at least less apocalyptic stance. Given all of the ‘Brexit’ angst in Briton these days, I suppose several hundred years more of living history kind of levels out ones perspective on the present.

The New Yorker Radio Hour

I wasn’t sure just where to place this since the coverage is as much news as it is cultural commentary. I decided that since the coverage is essentially ‘journalistic’ in approach, this fits.

Business/Journalism

Pivot

Two of the most knowledgeable people on the fringes of Big Tech, Kara Swisher and Scott Galloway make a ‘perfect couple’ with their insights into current and future trends in business, investing and the politics around technical innovation and culture. Punctuated by personal banter and good natured kidding these two have been going at it for a couple of years of successful and popular podcasting. Swisher, the journalist, keeps things on track while almost cagily draws out brilliant insights from Scott, the NYU business professor and investor. Guests are featured with back and forth interviews by both Kara and Scott.

The Professor G Show

Scott Galloway’s own podcast (see above), where he calms down while proving himself a capable interviewer, while giving himself some time to deliver, John Oliver style, some incredibly insightful, critical, and sometimes inspiring ranting about ethics in politics and business.

Sway

Kara Swisher’s new interview show from The New York Times where she is featured as a regular Opinion columnist. The NYT is managing a very successful and profitable switch into the digital medium. Swisher is a digital candidate for the Maureen Dowd chair of journalism. Her interviews so far have included a diversity of subjects (from Dowd herself to Hillary Clinton to Jane Goodall).

Science

New Scientist Weekly

Friendly, British, delivered with a touch of humor, the most up-to-date international coverage of the scientific progress on Covid-19, and the latest questions and discoveries in scientific research.

Philosophy

Hi-Phi Nation

Philosophy revealed through contemporary storytelling and interviews that reveal in our present dilemmas their deep roots in philosophical discourse. A uniquely illuminating approach and my ‘great discovery’ of the month.

Into the Zone

An original approach to ideas and storytelling from novelist Haru Kunzru, who focuses on how ‘opposites’ shape our world. While founded in stories from the ‘real’ world Kunzru’s approach is delightfully filled with literary twists and turns and metaphor. I was turned on to him in an interview with ‘The Book Review’ podcast (see below).

Storytelling/Literature

The New Yorker Fiction

I’ve been listening to this podcast for more than 10 years. It’s one of my main links to the world of short fiction. A writer each month gets to choose one of their favorite stories from another writer in the archive and to read it out loud. Afterwards the author/reader discusses the story with Fiction Editor Deborah Treisman, focusing on how the story inspired and influenced them.

Imaginary Worlds

Being a heavily invested fantasy, sci-fi and comic book geek, how could I miss this one. ‘How we create Imaginary World and why we suspend our disbelief.  ‘Nuff said!

The Book Review

From the New York Times Book Review, but less intimidating. It features author interviews plus short discussions and reviews of some of the latest books out on the shelf.

Poetry Off The Shelf

A refreshing break into the dimensions of pure sound and word. Poems are read, interviews and analysis are delivered. A little Poetry Magazine online.

Humor

Beef and Dairy Podcast Network

I cannot really desgribe this to you. It’s British and hllarious. Every episode begins nearthe absurd nand then carries one beyond…

Mission To Zyxx

By now an old stand-by for fans of imprvisational humor, sci-fi and those with a need to fill the void between space-based intergalactic blockbusters.

Weird Tales

I became dismayed and extremely frustrated the other day when somebody for which I carry a lot of respect and affection parroted to me the same right wing propaganda that constantly proliferates on You Tube and Facebook. Both sources are essentially ‘Rabbit Holes,’ programmed to drive gossip, controversy and sensationalism while selling ads.

Between the paranoia and the propaganda, much of it not even generated in this country, our adversaries have gotten America’s number. We are a society that appears to be coming apart at the seams. Only the slightest encouragement is required to cause us to turn on one another like frightened dogs. Since Americans tend to trust our screens more than our actual experience we are VERY ripe for programming and manipulation. Tell a good yarn and it’s certain you’ll create a following. Provide a cliffhanger or sense of constant crisis and you can, like Trump, create a cult.

A cult functions like a cancer on the collective consciousness. Ideology is substituted for facts, programming takes the place of thinking, Individuals begin to function like robots. People once regarded as intelligent humans begin repeating the currently circulating memes and claims in a kind of science fiction nightmare that features suffocating hordes of mindless clones.

When a sufficient number are pulled into the myriad belief systems and ideologies that offer alternatives to the actual processing and evaluation of information, collective decision making becomes almost impossible. There can be no accord, because every position becomes an absolute. The quest for solutions becomes a battle between religions.

So, here we are America, trapped in our own tar pits of misinformation and increasingly obsessive fanaticism. As a nation we appear to be suffering various forms of mass psychosis, shouting at one another from totally different perceptions of reality.

The anxiety of the final days and weeks leading us toward our fate is that we don’t really know how bad is the disease. We know it’s pretty bad, and it’s spreading in waves, mostly driven by social media and those who profit from chaos. Everyday the stories and rumors get more imaginative and ridiculous, while people huddle in groups formed mainly to reinforce their own fears and premeditations.

Perhaps there are still enough Americans out there who are capable of rational decision making, who aren’t afraid of facts and data, who can make the mental leap to figure out that voting out of fear and insecurity will only lead to more of the same.

It’s hard to tell. Rational people find themselves trying to be heard above the noise, and the noise is everywhere. In the year 2020, with pandemic, racial tensions, climate change and election fever all appearing to peak at once, we will be forced to see more clearly, once the dust settles, just who and what peers back at us in the mirror.

Continue reading “Weird Tales”

Stretching

I’ve in the last week picked up a copy of a book composed by Timothy Leary and associates back in 1994, two years before Leary’s death in 1996, and around the time when I was imbedded in the post-psychedelic New Age culture of art and speculation that nested in and around Santa Fe, New Mexico. I’d actually passed by Doctor Tim in person as he toured as guest speaker and celebrity for some sort of exploratory consciousness fair that took place at the city’s main Convention Center.

I am certainly no stranger to Leary’s thought and his writings. From the time when he was advocating from an eminent platform at Harvard for boundary breaking explorations of consciousness via LSD and Psylocibn, to the time when I spent days trying to process my own headlong perceptual journeys out to the boundaries of consciousness and beyond. I travelled along parallel paths while Leary made his way through prison and exile and paranoia and the trials that came along with pop stardom and self deification.

When I walked into my dormitory room at Case Western Reserve one night, getting off on some form of chemically induced revery I heard Leary’s voice come over the radio, telling me to, “Sit down Ralph.” He then took me on a guided verbal tour of my brain, the universe and the whole history of human DNA. It turns out that the ‘Ralph’ in the recording, played that night over the student station was of Leary at Harvard conducting an LSD session with one of his grad students, Ralph Metzner. I didn’t learn this until years later, and in the meanwhile carried it around with me like the inner knowledge of some secret synchronistic initiation, a mystery for which I sought no further solution.

The book I’m reading is one I wasn’t particularly familiar with, lent to me by a friend. It’s called “Chaos & Cyber Culture.” By 1994 Leary as visionary prophet had been largely discredited by both popular and serious academic culture. He had spent time in prison, in Europe and in North Africa, in flight from the American police, hobnobbing with revolutionary elites and movie stars and science fiction writers, hounded by governments and ideologues of the Left and the Right. The 60’s dream of storming the barricades of capitalist/consumer culture had long ago faded or been absorbed and replaced by the high octane quest for new meaning and new wealth accelerated by revolutions in technology and communication.

Society was itself going through the initial stages of the sort of destabilization one encounters on an acid trip. Timothy Leary, along with many former prophets and outlaws and explorers were now mere flotsam in massively circulating currents of change. He was gone before the currents would peak and then break into fading fragments after September of 2001.

The book is a collection of words and images splattered across pages designed in the mode of a psychedelic version of The Whole Earth Catalog. There are dozens of typefaces in all sizes floating in the form of giant quotes and poster graphics and images from the past and the future. There are interviews and conversations with the likes of William Gibson and William Burroughs and David Byrne and all sorts of artifacts assembled around a political documentary and summary of sorts of Leary’s broad visions of past, present and possible future.

Other than in worlds of extreme science fiction I haven’t read anything like this in years. Drawing on history, art, mysticism, biology, psychology, computer science and literature, framed with over-the-top optimism regarding the future of civilization and human consciousness, Leary’s vision has no boundaries, and in reading I grow increasingly aware of how much my vision and that of my culture has narrowed over these past four decades. As a nation and as a world we’ve become increasingly ruled by fear and apprehension, which by nature is a narrowing of consciousness to the primitive state of flight or fight that responds robotically to a wider and wider range of stimuli.

We sit in our cocoons of political power and economic anxiety and anticipate the worst. We are a shell-shocked population with eyes and ears open to more and more information but with less ability to integrate it into something that makes sense. We live in a world of chaos, awaiting signs of the next real ‘strange attractor’ that we hope can assemble all of this mess into meaning. We’ve entered a historic and geological period where the shocks come in accelerating waves of war, recession, natural disasters and forced migrations, and our response is to reach out to the person who promises to protect us and shield us and make it all right. Increasingly we realize that the future can’t be controlled by any power wielded by the few for the supposed welfare of the many. Individually we awake once again to the knowledge that the portraits we perceive of the world around us are painted mostly by ourselves.

At first this makes us all feel incredibly alone, until we make an effort to explore and find new ways to make contact with one another, not as crowds or constituents or mobs or armies, but as fully responsible human beings. Our challenge always, is to create entirely new realities for ourselves, through our storytelling and our imagining, that are fluid and adaptable enough to deal with the constant change that our world throws at us. We have the tools to do it, and our task is to awake to our possibilities and to summon the courage to face and dismiss those who would build walls out of our fear.

At Work

At Work

Put yourself in a box,
a tin can,
an official one.

Make lists.
Count inventory.
Walk the aisles,
dreaming art and poetry
only at night
and on weekends.

Watch the light
going out.

Take notes
with a short pencil
on a yellow pad:
“This is where I left my mind,
in this particular section
of this particular warehouse
before it was sold
and eaten.”

A Strange Year

I was laid off once from a computer software company with the boss saying to me, “You’re kind of a liberal arts sort of guy.” He had a point, and it was true that I didn’t really fit in with the climate and culture of the place. What he wanted was more on the STEM side of things. More about numbers and programs and accounting and less about words and magic. I’ve always had trouble with numbers but have never veered from a fascination with the hidden underside of things.

This was a year when all of the lessons I should have learned were taken out of the theoretical realm and brought rather severely to earth. The barriers between the worlds of wishful thinking and the awful realities that threaten our planet no longer held. It was time to put aside hopeful speculation and face down some awful truths.

It was a bad year for dilettantes. From January on it was as if, after the numb horror of events had begun to give way to the appalling normalcy of daily assault, an enormous dark sinkhole had opened in the collective psyche, and absolutely everything was sucked down into its depths so that all one looked at was somehow infected by the dread and anger that issued out of an unavoidable hellmouth, like something in a painting by Heironymous Bosch.

Now that we are past the initial shock and have accommodated ourselves somehow to the steady degradation of our public life we can perhaps leave it to unfold (and degrade) without the need to push or pull. It will unfold anyway, and perhaps someday the dirty tide will recede a bit of its own accord and meanwhile we can take stock of what’s going on in the world that lives inside of us.

I’ve always been compelled to take in everything there is in order to see the links between. To pursue one object or another to the end of its particular tunnel is an activity left to those so inclined, while my own interest is to follow the branches as they lead back from twig to trunk, fascinated less by the fleeting detail than by how it all connects. I could be called a ‘dilettante’ or perhaps a philosopher or something equally ‘iffy’ in terms of consistently reliable income streams. In the long run this generally places me somewhere at the ‘bleeding edge,’ or slightly on the outside of things that occupy most people from moment to moment. I often feel as if I’m looking on, observing with fascination, from some distance this or that quest for particulars and rarely feel fully engaged with those who spend most of their time in the weeds. Instead of attending to the particular I’m obsessed with the thread that connects this particular to another, and anot!
her, along the long and almost mystical yarn that comes from the past and stretches ahead to the future.

In this old year waning and new year dawning I’ve decided to go ‘cold turkey’ in terms of politics, hoping to free up energy for something a bit more connected to larger and longer streams that portend the creative or at least the positive. This past year felt like a full-on war, fought with words and images rather than missiles and bombs. All the words flung back and forth hammering relentlessly at any sense of civility or even responsibility, for the purpose of differentiating ‘us’ from ‘them,’ breaking the branch from the tree. All having a deeply corrosive effect on the bonds that make us feel connected in a way that makes some kind of collective sense. Most of us are reduced to sitting helplessly observing, trying to apply the old rules of civility to a situation where they’ve apparently become irrelevant. We are like mad children in some re-enactment of ‘Lord of The Flies,’ let loose to trample the bonds of the social order like they are brittle fur!
niture left around for us to trash.

I tell myself in better moments, when my mind isn’t so mired in the details of our day-of-horror unfolding, that out of chaos comes creativity. On other days I want to join in with the trashing.

Why should I even care? Even if politics and war are more entertaining than any other sport I could name, its become the sport by which we the people tear each other to pieces. My new thought is that I should stop being concerned or finding myself in any way responsible for the outcomes. My fellow citizens after all, dug this grave for themselves. Why should I not allow them to shit in their own hole and then lie down in it? Even if I must share the hole with them (there is no true escaping in this world), perhaps I can hold my nose and look away toward the sky.

Not so easy this for me, to be mired and yet to turn away as if nothing’s amiss. It’s like a sports addict deciding to turn off ESPN and ignoring the Super Bowl, the World Series, the Olympics. Actually not so hard for me to imagine, as I’ve ignored these things for most of my life, politics being my ‘sport’ and the one interest that ties me to the things that apparently matter to the people around me from day to day.

I’ll turn to my only real audience, which is this presence inside of me, this all-judging voice that measures the world that I see and most of all that measures me. Instead of the usual ‘Politico,’ ‘FiveThirtyEight,’ Pod Save America,’ today I listen to ‘The Paris Review,’ and ‘The New Yorker Radio Hour.’ Instead of Netflix I find myself in books: Jack Kerouac’s Scroll, Haruki Murakami, Dave Hickey. I am edified and entertained, inspired even. I rearrange my apartment, twice.

Then, of course, there are all the counter voices, telling me, “You’re being irresponsible and arrogant. How can you be so uninvolved when the country is going to shit? You have to be INVOLVED, even if it’s only being aware and passing your awareness on. And I realize there is no way to be uninvolved, as the slippage we all feel is like some gravimetric beacon bending every current and pulling everything toward itself. We are all at some level compelled to respond, as we walk an ever narrowing collective path toward the future.

And of course, all things are political. “We’re either part of the solution or part of the problem.” Is there no escape? Of course there isn’t. The world moves on and we come around on our endless loops of self-doubt and over-confidence, trying to find that median place called ‘decision.’ We decide, we move on, we face the crisis brought about by yesterday’s decisions.

Amazingly, these two days off without once checking the news beyond the headlines, which are reliably and predictably grim, begin to feel like an actual weekend (even though my ‘weekend’ days these days are in the middle of the week). I realize that for the past year I’ve been living outside of myself, disembodied, a ghost on social media, juiced on the rage I see and feel all around me there, feeding it back in return, almost forgetting that I ever had a real life or that there are real people out there who are just living.

And yet, over the year I’ve written over a thousand words, mostly captions and short comments, an occasional thumb-length essay, and always in reaction to something OUT THERE. You can look at my Facebook page and find a running chronicle of anger and despair that’s book length and illustrated, a veritable museum exhibit of the Year in snapshots. But, very little of what you see goes beneath the armor. It’s merely a chronicle of suffering, as if every move we made was constrained by the straitjackets of fear and rage.

I fell into the very traps I’ve been warned to avoid and have warned others about. In my studies of magic and media and the dangers of astral space (where ideas and images are born and fed) I was aware of the potentials for getting lost in the endless gulf that opens between imagination and matter. Into that gulf is where the ‘enemy’ projects his tricks, his spells, his signals of doom. The tragedy is that we gave him the biggest platform from which he could play his tricks.

So we were played.

On the bright side, I learned to write with my thumb. This was entirely written and edited on my iPhone.

Arclist

Sex and Politics: The Resistance

Fox News is, more than anything else media headquarters for patriarchal resistance and institutional racism in America, just as the Republican Party is headquarters for it’s political arm. In the past few months Fox has lost their former ringleader (Roger Ailes), their leading female commentator (Megan Kelly), and now their biggest moneymaker (Bill O’Reilly) due to a pervasive climate of inappropriate sexual behavior and harassment.

Given that the prevailing attitudes at Fox and in the Republican Party are basically throwbacks to an era of ‘Madmen,’ which educated and aware Americans have grown out of, but Fox/Republicans and their constituency have not, this should be no surprise. While commentators like O’Reilly rail at manufactured bugaboos under the banner of attacking ‘political correctness,’ women broadcasters at Fox are evaluated according to their measurements and how closely they match some male’s beauty pageant ideal. Intelligence and competence must be overmatched by ample exposure of ‘legs and cleavage’ and the job description should read: Applicants preferred: blond and buxom (and very white).’

When news becomes a front for sensationalism and entertainment and government becomes nothing more than performance art the abuse of persons follows inevitably out of the abuse of truth. We have gone very far down that road, but the dumping of Bill O’Reilly demonstrates that the popular and political resistance in the Age of Trump is mounting and is indeed effective. While the forces of reaction circle the wagons a wave is growing with every abuse, every revelation of corruption and every broken promise.

New York Times: ‘Bill O’Reilly Is Forced Out’

The Pipeline Is Rape

In his first days Trump has moved to reboot the Dakota Access Pipeline. His first acts in office have made it clear that his prime motivation has nothing to do with serving the people. He serves only his own threatened ego and intends to take revenge against anyone who challenges it’s dominance.

The Pipeline is an act of rape. The attempt to push it through has little to do with necessity or economy. It’s the clearest effort by an administration of white male supremacists to show their dominance over all the earth and all people. 

This confluence of cultural and historical forces give the struggle rare symbolic resonance. It delineates a spiritual crisis as much as a political one.  

Resistance to the Pipeline will define the political will of a generation, as Kent State defined that of another and the Battle of Little Big Horn and it’s aftermath defined yet another. The ultimate outcome will define America’s image to the rest of the world for many years to come.