American Epic

Documentary debuting this evening on PBS — the trailer here.

AMERICAN EPIC represents a ten-year odyssey by Allison McGourty, director Bernard MacMahon, musician Duke Erikson, and audio engineer Nicholas Bergh, that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story”.

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Walker Percy Wednesday 136

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The signal-using organism has an environment.
The sign-user has an environment, but it also has a world.
The environment of an organism is those elements of the Cosmos which affect the organism significantly (Saturn does not) and to which the organism either is genetically coded to respond or has learned to respond. There are many gaps in an environment, i.e., there are elements which are without significant effect. A honey bee takes account of the bee dance of another bee indicating the direction and distance of a nectar source, but not of a grouse dance.
The sign-user has a world.
The world is segmented and named by language. All perceived objects and actions and qualities are named. Even the gaps are named—by the word gaps. An African Bushman has hundreds of names for plants which are either noxious or medicinally beneficial. But he also has a word bush to name all other plants. The Cosmos is accounted for willy-nilly, rightly or wrongly, mythically or scientifically, its past, present, and future. All men in all cultures know what is under the earth, what is above the earth, and where the Cosmos came from.

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The environment has gaps. But the world of the sign-user is a totality. The Cosmos is totally construed by signs, whether the signs be the myth of Tiamat, Newtonian cosmology, or through the auspices of such popular signifiers as “outer space,” “out there,” “the heavens,” “the sky,” “stars,” and so on.
Not all items of an environment are part of the world. A noxious element—say, an increase in ultraviolet radiation—is a significant environmental factor and may cause skin cancer. But it is unknown to the patient and not part of his world. But the signs unicorn and boogerman may be very much a part of a person’s world and yet have no known counterpart in the Cosmos.

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Note some odd things about the self’s world. One is that it is not the same as the Cosmos-environment. The planet Venus may be a sign in the self’s world as the evening star or the morning star, but the galaxy M31 may not be present at all. Another oddity is that the  self’s world contains things which have no counterpart in the Cosmos, such as centaurs, Big Foot, détente, World War I (which is past), World War III (which may not occur). Yet another odd thing is that the word apple which you utter is part of my world but it is not a singular thing like an individual apple. It is in fact understandable only insofar as it conforms to a rule for uttering apples. But the oddest thing of all is your status in my world. You—Betty, Dick—are like other items in my world—cats, dogs, and apples. But you have a unique property. You are also co-namer, co-discoverer, co-sustainer of my world—whether you are Kafka whom I read or Betty who reads this. Without you—Franz, Betty—I would have no world.

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“Cultural appropriation”: authoritarianism leavened by philistinism

Well put by George Will in The Washington Post (I’ve said as much in a forthcoming review article (extracts #1 and #2) and earlier (extract #3)) — see also Daryl Hall’s thoughts on the matter. The logic of this reactionary fundamentalism would mean that the biggest and most effective cultural magpie of them all — David Bowie — would have to be dismissed. These fuckwit cultural marxists are so arrogant and crudely rationalistic that they cannot even conceive that culture, by definition, is a star example of spontaneous order, something fortunately well beyond their vain controlling impulses.

  1. The palpable sense of cultural vibrancy and of place, so essential to New Orleans’ identity, makes an absolute nonsense of the currently fashionable term “cultural appropriation”, a conceptually illiterate term of abuse, a newfangled fundamentalism, espoused by the authoritarian “regressive” left. New Orleans as a culturally emergent phenomenon par excellence, is continental America’s most original contribution to world culture and for that we should be grateful. One cannot even begin to conceive how impoverished our lives would be without the emergence of gospel-, blues-, and jazz- music and the several permutations thereof.
  2. The spontaneous and distributed nature of culture—the sine qua non of a vital culture necessarily downstream from politics, a temperamental affront to rationalism’s inherent attachment to power for power’s sake (the “regressive” left’s cultural Marxism)— points to the eternal value and significance of New Orleans.
  3. Isn’t it remarkable that a major driver of social liberalism and the attendant sexual revolution was popular music (jazz, blues, country and western, folk, rockabilly, rock and roll, boogie-woogie and even gospel) — yet these dissident and radical artistic pioneers would be deemed to fall squarely into the “basket of deplorables”.

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Palgrave Studies in Classical Liberalism

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Wrong Is Right

This really was a thoroughly crap film back in the day and though it hasn’t improved with age, I guess it was onto something (well at least the novel on which it was based). Here is Joe Dante making a case for the film to be reassessed, at least on the grounds of its prescience. Here too is Vincent Canby’s original review in the NYT.

[w]hen no place on earth can hide from spy satellites, when backward, oil-rich nations control Western economies, when the United States President is crooked and inept, when atomic bombs can be bought on the open market if one has the cash and when the citizens of the world watch themselves on the nightly news as if they were actors in a nonstop television spectacular.

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Brentano, Kafka and Hayek

While working on a Barry Smith related project I was reminded of two fascinating papers by this incredibly productive, eclectic and just downright decent and responsive bloke whose work in ontology has had real and positive practical import for medical science. As you might be aware, many philosophers these days are in the business of self-aggrandizement, “activism posing as inquiry”, virtue-signaling (“tick box morality”). In effect, amounting to no more than a highfalutin style of hectoring us as to how bad the world is and how bad and stupid we are — their vain “one size fits all” solution, a deeply destructive groupthink authoritarianism. Barry, by contrast, is doing work that is actually relieving man’s estate and moreover, he profoundly understands the dynamism that underwrites our civil liberality. Anyway, below are the two papers that I mentioned. Please stay tuned for more big news on Barry in a month or so.

Bretano and Kafka

The Connectionist Mind: A Study of Hayekian Psychology (This was the chapter that cracked opened a rich vein of theorizing for me, having heretofore only being familiar with Hayek’s social theory).

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Life + Death: Chairmen of the Board

A classic bit of acid funk to blow away the past week, a world away from “Give Me Just A Little More Time”. As per usual AllMusic gets it. Here are a couple of obits for General Johnson in The Guardian and The New York Times.

John Oliver as Ben Elton

Glad I’m not the only one to realize that North Americans are oblivious to the fact that John Oliver is really a “mini-me” Ben Elton, but without the talent, even though I thought, in the day, Elton as a stand-up, was tiresome. This said, I concede we needed a foil like BE. BE was a superb writer for The Young Ones and Blackadder and for that we should be grateful.

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The Place of Michael Oakeshott in Contemporary Western and Non-Western Thought

Coming soon from Imprint Academic, edited by the very excellent Noel O’Sullivan.

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