Corey Robin Reviews a Book About Trump

Reading Time: 4 minutes

The following transcribes my email to a correspondent who provided the original link to this blog entry by Corey Robin. I used to see these (and comment) on Facebook. But I’ve managed lately (like for the better part of a week) so far to stay away from Facebook, except at arm’s length.

Here’s the link to the book review http://coreyrobin.com/2017/03/14/the-real-parallel-between-hitler-and-trump/

And here’s what I had to say:

Email to a friend, today’s date, about the current Corey Robin blog entry

I am predicting you won’t mind my lapse into old ways and responding directly to what I saw was a recent post while making one of my lightning checks of Facebook.

I feel so much better, incidentally, these days, avoiding Facebook consciously, indeed mindfully, as it’s still necessary to resist the unconscious reflex after perusing this or that news site on the web to drop down my bookmark menu for “Social” and click on the blue F (good title for a murder mystery, “The Blue F”). I realized without undue mental exertion that what depressed me was not the news—though it’s surely no cause for joy or a sense of well-being—but the peculiar embellishment of the effects of relentless dispatches from the front lines of anarchy, otherwise known as the White House (have you noticed that increasingly the news media have taken to iconizing the actual physical seat of executive administration of the government, just as the Brits did decades and decades ago with 10 Downing Street? My theory is, it’s a way for the news “good guys”—what we usually call, as if there were something vaguely blasphemic about the epithet, the establishment news or the mainstream media—to continue to separate the Trump administration from the rest of the government, which they hope not only metaphorically to quarantine, but to do so literally, lest the contagion spread uncontrollably like the super bacterium it is [trying to think of another metaphor yet, to throw into the mix, but that’s enough], and also, of course, as a way, literally as well, to avoid having to set the name Trump in type yet again, bolstering the data mining results of the future). It’s not what the news media say, though enough of it constitute crimes against English, if not against truth altogether, beyond mere execrable writing.

Cover of Making of Donald Trump

The Making of Donald Trump bookcover

In any event, thanks for the Corey Robin link [to his review of the David Cay Johnston book, The Making of Donald Trump], as it, if for no other reason, reminds me that I have to subscribe to his feed or I will no longer, in the medium to long run, be reminded by you to see if there are a few unbruised fruit and un-blighted seeds to harvest from his particular tree of knowledge.

Nice to see that he seems to have put back under control his tendency to foam at the mouth.

This was a nice review, and true enough, I’m sure, but it’s evidence of the continuing crime of recycling old news. Why is it that so many liberals, if not those further left on the spectrum, think that the regular glance “rere regardant,” as Joyce put it in Ulysses, is necessary to keep from repeating old sins? Or, more likely, as if keeping the misfortunes of our time in the forefront of our consciousness will somehow ameliorate the abstract condition of our lives by halting, through a sheer act of collective will, the progress of the ill effects of the latest form of exploitation (like enough, surely, ever more virulent—there’s that super bacterium metaphor again…), in this case aka “the White House.” I won’t even talk about what Johnston is doing with such a book, aside from a public service of course for those not paying attention to the last 30 years. It was likely a lot of work, and I don’t criticize that, or begrudge him the rewards of an appreciative marketplace.

So, finally, and then I’ll let this, and you, go. He (Corey that is) says, “the systemic corruption of our rentier economy,” which is a nice twist I guess on a slightly shopworn locution. Except, as usual, I must take, indeed, exception to the use of “corruption,” suggesting that, at some previous time, the system of which we all are part, was sound and pure and unsullied by decay. Which I don’t believe. I think it (the system) has some genes deep within that, though not manifest at conception, inevitably prove an almost unavoidable tendency to develop a cancer. Back in the day, I mean 1781, they simply hadn’t yet conceived of the banking laws we are so clever to have ginned up starting back in the 1920s, if not earlier. For example.

And, I would prefer had he (Corey) stuck to the more prevalent condition in the use of the phrase—which was used most poignantly for me when my shrink told me at some point during the analysis to which I subjected myself for about four years back in the 1980s, when I had money to donate to my shrink’s mortgage holder, “we’re all renters.” True enough, I’ve come to discover, especially in that the phrase applies in all situations, just like “this too shall pass.” It’s only a very small number of self-privileged ones, somehow impervious to the corruption in which they thrive (what is evil, after all, to the devil?) who can legitimately call themselves, as well, “rentiers.” So. Not so clever after all. It’s just rubbing it in.

see you elsewhere on the ‘net, I hope…

xoxo

hhd

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Camille Paglia on Lena Dunham

Reading Time: 3 minutes

Camille Paglia broke on the national public scene with the publication of her magnum opus Sexual Personae back in 1990. It was originally her weighty and quite serious doctoral thesis, at Yale University, some 20 years previously. Since its commercial release, I have had the guarded ambiguity-laden relationship with her we all like to place under the heading of “love/hate.” Ever wary of Paglia’s inevitably brash, seemingly liberal pronunciamentos, always to my ear, as well, vaguely self-congratulatory, what I brace for, always, are crypto-fascist eruptions.

These days she seems to have found at least one rhetorical nesting place in which to opine regularly, that is, with the National Enquirer of the proto-progressive left, “Salon.” Indeed, she falls well into line, as she puts it, with her “perspective as a fervent supporter of the ruggedly honest and principled Bernie Sanders.” Unhappily (in the French sense), she says so even as she steps without a skosh of trepidation and embarassment away from her prior position towards Donald Trump. He was a “carnival barker.” Now, she thrusts toward a much more accommodating stance, in a paroxysm of self-revision (perhaps in fear—and I say this knowing that la bohème de l’académie springs with predatory zeal when so accused—of not having gotten on board soon enough to embrace the inexorability of The Donald’s earth-scorching march on Philadelphia this summer). It seems now, conversely to mere weeks ago, he (or should we be considering any reference or adversion with an upper case pronoun, usually reserved for kings, God, and Jesus or Mohammed, and call Him “He?”… I would prefer Trump, or His Trumpness, or Trumper, or El Trumperino) is to be viewed differently. According to a reassuring la Paglia, as she informs her public that “[his] fearless candor and brash energy feel like a great gust of fresh air, sweeping the tedious clichés and constant guilt-tripping of political correctness out to sea….Trump is his own man, with a steely ‘damn the torpedoes’ attitude.” And she does so with an equal insouciance to the appearance of a public reversal, like any seasoned pol intent on righting the meaning of truth.

However, I am not here to challenge her on what was, indeed, a refreshing and validating expression of opinion by she who must be heard in the very same column in today’s Salon (I Was Wrong About Donald Trump). Though, briefly I have to admit it is inviting to point out the myriad aspects of Trump’s public persona that are signifiers of a wholly insupportable inhumane tendency—qualities the foremost diva of the academy elects to overlook in her 180-degree reassessment.

By David Shankbone - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=19316880

Lena Dunham, by David Shankbone – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=19316880

Rather I am here to take what is to me a godsend of an opportunity to quote her on another curious phenomenon in this day of grotesque judgments by the establishment as to what constitutes newsworthiness. Never mind as to what constitutes worth of any sort that is substantiated by reality, and validated by any kind of rigororous epistemological scrutiny. I speak of one of my personal bêtes noires, Ms. Lena Dunham.

Quite simply, let me quote Camille without comment. I could not have said it better. Having observed that Ms. Paglia has seemed to have overlooked Ms. Dunham while doing a “superb job of analyzing contemporary figures,” one of the professor’s admirers ask her point blank for her “thoughts on this young woman who fancies herself The Voice of her generation:”

On the one hand, I believe that each generation has the unchallengeable right to create its own aesthetic and to carve its own idols. On the other hand, as Gwendolen Fairfax darkly remarks to Cecily Cardew in the great tea-table confrontation of Oscar Wilde’s The Importance of Being Earnest, “On an occasion of this kind it becomes more than a moral duty to speak one’s mind. It becomes a pleasure.”

Lena Dunham belongs to the exhibitionistic Andrea Dworkin school of banner-waving neurotic masochism. The body is the enemy, a tainted lump whose limitations and afflictions the public must be forced to contemplate in grisly detail. We must also witness, like hapless medieval bystanders at a procession of flagellants, just how unappetizingly pallid Caucasian flesh can be made to be without cracking the camera lens. The torpid banality of Dunham’s utterances (reverently accorded scriptural status by the New York Times) is yet another matter. I am woman–hear me kvetch!

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The Pro

Reading Time: 6 minutes
Sometimes the old ways are best.

Sometimes the old ways are best.


Wednesday this week was a day I had been anticipating. November 11 was the announced date of the availability of a new Apple product, the iPad Pro, introduced in September to great fanfare (and my immediate optimistic enthusiasm) as a new generation of tablet. The tablet, especially the iPad, which is the market leader in a number of dimensions, price, popularity, performance, has been on the decline by the usual economic measures, not the least of them being growth of sales and percentage of corporate revenue for Apple. Nevertheless, the Pro seemed to augur a new stage of development for this particular species of device: a professional tool, highly mobile, that could be used not only to enable, but to facilitate creative innovation, from concept to execution for a world more and more populated by expressive and informative media that are digital, starting from the origin of an idea.

To be introduced along with the significantly enlarged form and screen size of the tablet are two ancillary or collateral or auxiliary input devices: a keyboard and a stylus. The screen of the new version of iPad is more or less the same size as the screens of the smallest laptop products offered by Apple, the MacBook line of computers. The latter are still, more or less, the only growth category in the slowly withering category of personal computer devices that are not strictly mobile. All this is to say that the world at large is slowly becoming dominated by digital devices that fit in pockets, however large and capacious they may have to be to accommodate some of the larger smartphones.

It was to be, and, for all I know, still is to be expected that new devices like the iPad Pro, as well as the hybrid Surface Book, which is Microsoft’s entry into what marketers like to call the “crossover” category of tablets qua notebook computer (the former ad man in me cannot overcome the impulse to recall that old joke, I think from SNL, “It’s a mouthwash! It’s a floor polish!”). It has a keyboard, but it also can be used strictly as a touchscreen device. It also has been designed (this is somewhat more true of the Apple product, but applies as well to the design ethos of the Microsoft product) to be that much more precise in its responsiveness and accuracy in the rendition of design elements: both type and graphic elements, photographic or manually drawn. To reinforce the perception of the iPad Pro as a professional device is the Apple Pencil, the company’s first venture into a discrete digital stylus offering (the doomed Apple Newton, in the 90s, had a stylus as a necessary adjunct to using it, but it was just a stick, not a connected digital instrument). The sainted Steve Jobs famously allegedly put the kibosh on the development of any such capability in association with the iPad concept by dictating, in an off-handed brief encyclical to the world, that a fingertip was stylus enough for anyone.

Nevertheless, in terms of technical specifications, it seemed to me that the Apple Pencil raised the product category of stylus to a new level of accomplishment for the engineers—or so it seemed back in September with the onstage product demo. It is responsive and significantly more precise in terms of the rendering almost immediately and visibly with the necessary synchrony of where the tip of the instrument, which is about as sharp (or dull) as a slightly dull graphite pencil or, perhaps, a Bic ballpoint pen, meets the slick glass surface of the screen. Beyond that it falls short in exactly the same way all styli on digital touchscreen instruments do. It is a unique form of recording instrument and must be learned to the expert level to exploit fully. I imagine the heuristics are similar to any new form of technology, meant to analogize an existing, especially what I’ll call a natural, form. Playing a musical instrument, or learning to perform arthroscopic surgery, or learning to perform arthroscopic surgery using a robot across the operating theater with the patient separated from the surgeon, flying by wire, operating a rover on another planet. All of it is possible, and any of these examples doubtless provides a context for creating new forms of art (in the broadest sense). In the case of the Apple Pencil, or any digital stylus, what it, the thing itself, does not do is replicate in any way, for one, the act of drawing on materials made of fibrous layers of something that at one time was growing: a tree, a reed, a young animal, flattened into a thin pliant sheet—so as to create a surface receptive to microscopically colored media prepared in a form of a sharpened stick or paint or ink, in short, material that may, at once, lubricate, suspend, and release the colorant as the instrument is dragged across the surface of the substrate. I mean of course ink, or graphite, or chalk, or paint, or dye used to make a record of one’s strokes. Whether it’s paper in its myriad forms, or parchment, canvas, or other kinds of cloth, or, alternatively, wood or metal or the stone wall of a cave, and with the laborious technology required to make these surfaces receptive to the colored material, there’s “tooth” to the surface which variously impedes and permits the progress of the recording medium onto the tactile surface. But there’s no way polished plastic molded to a point pulled across a glass surface can mimic the sensory experience of these phenomena.

I’m not commenting on and surely not denigrating the genius of programmers who have found ways of digitally replicating the act, and the result of the action, of nearly every technique invented in the entire history of homo pictor, whether it’s spray painting, pencil drawing or creating a cyanotype photographic image. However, it’s the result that is replicated, or at worst mimicked, and not the techniques or means to create the artifact with the appearance of a specimen prepared in the canonical manner. I could lapse into a very long digression about the increasingly resonant meanings and applicability of Walter Benjamin’s essay, “The Work of Art in the Age of its Technological Reproducibility,” whose increasing relevance to the existential aspects of daily life as time progresses in Western countries has a crescendo-like impact on my sensibilities at least.

But I think I’ll stick with what I set out to say, which is to critique the new Apple product, and to articulate why I decided not to buy it. The latter phrase will alert only people who know me personally and fairly well, know me for the inveterate and, I’m sure, sometimes seemingly unquestioning, wholly credulous, perpetually positive fan boy that my money and its free flow into the coffers of Apple Inc. would have seemed to attest in the past. However, the last three product introductions, for me, have proven a bust: the MacBook laptop (in three simulacrums of other kinds of metal than the aluminum of which it is crafted, including two tones of gold), the Apple Watch, including the version that actually is made of gold and priced starting at north of 17 thousand dollars, and now the iPad Pro. My first criterion is whether conceptually, especially as depicted in Apple’s devilishly alluring product videos, but, more importantly, once I can put the object in my hands, it instills that acquisitive impulse, usually fashioned in the compelling form of a felt need, as opposed to the more likely, and more accurate, covetous want. Without that impulse, I can’t persuade myself, even with considerable powers of logic, sometimes used self-reflexively, but still sophistically, that I should part company with significant amounts of cash.

In the end, what impressed me, after a full half hour at the Apple Store, unmolested and uninterrupted, with the iPad Pro, the Apple Pencil, and the so-called Smart Keyboard, was that these were products perhaps as expressive as any, if not even more so, of the Apple genius for slick design. But our household is filled with devices, none at the moment quite as new as introduced this week, but still representative of the same corporate ethos: tablets and phones, and computers, and music players, and dozens of accessories, converters, adapters and cables—and there are only two of us. And the iPad Pro is simply a very big iPad, and, despite Apple’s attempt to turn its size into a virtue, and for some, doubtless, a very large screen is exactly that, to me it’s clunky, and it has passed over some undefined boundary in my mind for what is an acceptable mass to carry around for a purportedly portable device (I hate the term “mobile,” and even more so as a noun; a wheelchair also is mobile—at the very least it must be conceded that it makes the person borne in it mobile when they would otherwise not be).

The Apple Pencil is now the premier exemplar of the category of digital stylus. Indeed, if Apple had lost its capability to trump all previous efforts by all other parties to dominate a category of digital device with the design and relentless rigor and simple beauty of it, I’d short my stock. The problem for me is that it is not that superior to the half dozen or so other styluses I have acquired, each of them at the time of acquisition the “state of the art” one way or another (and developed in the context of Apple purportedly considering category to be irrelevant pace Steve Jobs, who thought we should all be satisfied with the digital styli we were born with at the ends of the palms of our hands). I wish I still had all the money invested in those styli. They do work, and some not very much worse than the Apple Pencil, as Apple has no complete monopoly on clever engineers.

No I’ll skip it, and the keyboard, and the stylus, and I’ll reserve those discretionary funds, which I also remind myself I am very fortunate to have to enhance my resources for being creative when the mood strikes. There’s a lens for one of my cameras that I’m looking at, and am kind of fond of.

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