US Chocolate

Chocolate is a perfect food, as wholesome as it is delicious, a beneficent restorer of exhausted power. it is the best friend of those engaged in literary pursuits.
— attributed to Baron Justus von Liebig, also considered to have made possible the invention of Marmite . . . but that’s a different story especially for you North Americans :)

As great as Belgian and other European chocolate can be do not discount what’s happening in the US. Three companies (and probably several more) are producing top-notch chocolate.

Dandelion (when I tried them in mid-March, I thought they were the bees knees especially their Madagascar bars)

Fresco (this WA-based outfit was a very pleasant surprise, again a Madagascar)

Dick * Taylor (their Madagascar was as good as the aforementioned two but the surprise was that their Ecuadorian bar took the top slot).

But never mind what I think, check out chocky hound Barbie Van Horn‘s website.

Marquee Moon Review

Since I’ve been going on about Television of late (especially having just seen them live) I thought I’d post Nick Kent‘s famous review from NME. I used to religiously take both the NME and Melody Maker each week and though I was more inclined to the now defunct MM, to NME‘s eternal credit Nick Kent spotted possibly the one album where “beat” music effortlessly touched high art.

Giving Marquee Moon an “A+” in The Village Voice, Robert Christgau asserted that Verlaine’s “demotic-philosophical” lyrics could sustain the album alone, as would the guitar playing, which he said is as penetrating and expressive as Eric Clapton or Jerry Garcia “but totally unlike either”.

To call it Punk Rock is rather like describing Dostoevsky as a short-story writer. This music itself is remarkably sophisticated, unworthy of even being paralleled to that of the original Velvet Underground whose combined instrumental finesse was practically a joke compared to what Verlaine and co. are cooking up here.

Review of Marquee Moon by Nick Kent Feb. 1977 (H/T to The Wonder and E.O.M.S.)

Cut the crap, junior, he sez and put the hyperbole on ice.
I concur thus. Sometimes it takes but one record – one cocksure magical statement – to cold-cock all the crapola and all-purpose wheatchaff mix ‘n’ match, to set the whole schmear straight and get the current state of play down down down to stand or fall in one, dignified granite-hard focus.

Such statements, are precious indeed.

Marquee Moon, the first legitimate album release from Manhattan combo Television however, is one: a 24-carat inspired and totally individualist creation which calls the shots on all the glib media pigeon-holing that’s taken place predating its appearance; a work that at once makes a laughing stock of those ignorant clowns, who have filed the band’s work under the cretinous banner of “Punk-rock” or “Velvet Underground off-shoot freneticism” or even (closer to home, maybe, but still way off the bulls-eye) “teeth-grinding psychotic rock” (‘Sister Ray’ and assorted sonic in-laws).

First things first.

This, Television’s first album is a record most adamantly, not fashioned merely for the N.Y. avant-garde rock cognoscenti. It is a record for everyone who boasts a taste for a new exciting music expertly executed, finely in tune, sublimely arranged with a whole new slant on dynamics, chord structures centred around a totally invigorating passionate application to the vision of centre-pin mastermind Tom Verlaine.

Two years have now elapsed since the first rave notices drifted over the hotline from down in the Bowery. Photos, principally those snapped when the mighty Richard Hell was in the band, backed up the gobbledegook but the music – well, somehow no-one really got to grips with defining that side of things so that each report carried with it a thumbnail sketch of what the listener could divine from the maelstrom. Influences were flung at the reader, most omni-touted being guitarist mastermind Verlaine’s supposed immense debt to one Louis Reed circa White Heat/White Light which meant teeth-gnashing ostrich gee-tar glissando and whining hyena vocals. You get the picture.

Above all, one presumed Television to be the aural epitome of junk-sick boys straight off the E.S.T. funny farm – psychotic reactions/narcotic contractions. Hell split the scene mid-75 taking his black widow spider physique and blue-print anthem for the Blank Generation, leaving ex-buddy-boy Tom Verlaine to call all dem shots, abetted by fellow guitarist and all purpose West Coast pin-up boy Richard Lloyd, a most unconventional new wave jazz-orientated drummer, name of Billy Ficca – plus Hell’s replacement, the less visually imposing but more musically adept Fred Smith.

It’s been a good two years now since Television got those first drooling raves – two long years which led one at times to believe that Verlaine’s musical visions would never truly find solace encased within the glinting sheen of black vinyl. The situation wasn’t helped in the slightest by Island Records sending over Brian Eno and Richard Williams to invigilate over a premature session back in ‘75, the combination of the band’s possible immaturity and Eno and Williams’ understanding of what was needed to flesh out the songs recorded, resulting in the taping of four or five horrendously flat skeletal performances which gave absolutely no indication regarding the band’s potential.

Following that snafu, Verlaine became, how you say, more than a little high-handed and downright eccentric in his dealings with other record companies and potential middle-man adversaries to the point where even those who quite desperately wished to sign him threw up their arms in despair of ever achieving such an end.

Reports filtering through the grapevine made Verlaine’s behaviour seem like that of a madman. Even when the ink had dried on the contract Joe Smith signed with the band for Elektra Records late last year; Verlaine was apparently still so overwhelmed with paranoia that he activated a policy of never properly enunciating the lyrics to unrecorded songs in performance for fear that plagiarists might steal his lyrics before they’d been set to wax.

The only number he dared to sing close to the microphone at this point was ‘Little Johnny Jewel’, the one-off cult single of ‘76, a bizarre morsel of highly sinister nonsense verse shaped around a quite remarkably lop-sided riff/dynamic which set off visions (at least to this listener’s ears) of an aural equivalent to the visuals used in the German impressionist cinema meisterwerk Dr Caligari’s Cabinet, spliced in half (the track took up both sides of a 45 – labelled Parts 1 and 2) by a guitar solo which bore a distinct resemblance to, well, yes to Country Joe and The Fish. Their first album you know. The guitar pitch was exactly the same as that utilized by Barry Melton; fluid, mercury-like.

That’s the thing about Television you’ve first got to come to terms with. Forget all that “New York sound” stuff. For starters, this music is the total antithesis of the Ramones, say, and all those minimalist aggregates. To call it Punk Rock is rather like describing Dostoevsky as a short-story writer. This music itself is remarkably sophisticated, unworthy of even being paralleled to that of the original Velvet Underground whose combined instrumental finesse was practically a joke compared to what Verlaine and co. are cooking up here. Each song is tirelessly conceived and arranged for maximum impact – the point where decent parallels really need to be made with the best West Coast groups. Early Love spring to mind, The Byrds’ cataclysmic ‘Eight Miles High’ period, a soupcon even of the Doors’ mondo predilections plus the very cream of a whole plethora of those psychedelic-punk bands that only Lenny Kaye knows about. Above all though the sound belongs most indubitably to Television, and the appearance of Marquee Moon at a time when rock is so hopelessly lost within the labyrinth of its own basic inconsequentiality that actual musical content has come to take a firm back-seat to “attitude” and all that word is supposed to signify is to these ears little short of revolutionary.

My opening gambit about the album providing a real focus for the current state of rock bears a relevance simply because here at last is a band whose vision is centred quite rigidly within their music – not, say, in some half-baked notion of political manifesto-mongery with that trusty, thoroughly reactionary three chord back-drop to keep the whole scam buoyant. Verlaine’s appearance is simply as exciting as any other major innovator’s to the sphere of rock – like Hendrix, Barrett, Dylan – and, yeah, Christ knows I’m tossing up some true-blue heavies here but Goddammit I refuse to repent right now because this record just damn excites me so much.

To the facts then – recorded in A & R Studios, New York, produced by Verlaine himself, with engineer Andy Johns keeping a watchful eye on the board and gaining co-production credits, the album lasts roughly three quarters of an hour and contains eight songs, most of which have been recorded in demo form at least twice (the Eno debacle to begin with, followed a year later by a reported superbly produced demo tape courtesy of the Blue Oyster Cult’s Alan Lanier, which, at a guess, clinched the band’s Elektra deal) and have been performed live innumerable times. The wait was been worthwhile because the refining process instigated by those hesitant years has sculpted the songs into the masterpieces that are here present for all to peruse.

Side one makes no bones about making its presence felt, kicking off with the full-bodied thrust of ‘See No Evil’. Guitars, bass and drums are strung together fitting tight as a glove clenched into a fist punching metal rivets of sound with the same manic abandon that typified the elegant ferocity of Love’s early drive. There is a real passion here – no half-baked metal cut and thrust – each beat reverberates to the base of the skull, with Verlaine’s voice a unique ostrich-like pitch that might just start to grate on the senses (a la his ex-sweetheart one P. Smith) were it not so perfectly mixed into the grain of the rhythm. The chorus / climax is irresistible anyway – Verlaine crooning “I understand destructive urges / They seem so imperfect … I see … I see no e-v-i-i-l-l.”

The next song is truly something else. ‘(The arms of) Venus De Milo’ is already a classic among those who’ve heard it even though it has only now been recorded. It’s simply one of the most beautiful songs I’ve ever heard; the only other known work I can think of to parallel it with is Dylan’s ‘Mr Tambourine Man’ – yup, it’s that exceptional. Only with Television’s twin guitar filigree weaving round the melody it sounds like some dream synthesis of Dylan himself backed by the Byrds circa ‘65. It’s really damn hard to convey just how gorgeous this song is – the performance, – all these incredible touches like the call-and-response Lou Reed parody. The song itself is like Dylan’s ‘Tambourine’, a vignette of a sort dealing wiih a dream-like quasi-hallucigenic state of ephiphany. “You know it’s all like some new kind of drug / My senses are hot and my hands are like gloves! … Broadway looks so medieval like a flap from so many pages … As I fell sideways laughing with a friend from many stages.”

‘Friction’ is probably the most readily accessible track from this album simply because, with its fairly anarchic, quasi-Velvets feel plus (all important) Verlaine’s most pungent methedrine guitar fret-board slaughter, here it’ll represent the kind of thing all those weaned on the hype and legend without hearing one note from Television will be expecting. It’s good, no more, no less – bearing distinct cross-breeding with the manic slant sited on ‘Johnny Jewel’ without the latter’s insidiousness. ‘Friction’ is just that – throwaway lyrics – “diction/Friction” etc. – those kind of throwaway rhymes, vicious instrumentation and a perfect climax which has Verlaine Vengefully spelling out the title “F-R-I-C-T-I-O-N” slashing his guitar for punctuation.

It’s down to the album’s title track to provide the side’s twin feat with ‘Venus De Milo’. Conceived at a time when rock tracks lasting over ten minutes are somewhere sunk deep below the subterranean depths of contempt, ‘Marquee Moon’ is as riveting a piece of music as I’ve heard since the halcyon days of… oh, God knows too many years have elapsed.

Everything about this piece is startling, from what can only be described as a kind of futuristic on-beat (i.e. reggae though you’d have to listen damn hard to catch it) built on Verlaine’s steely rhythm chopping against Lloyd’s intoxicating counterpoint. Slowly a story unfurls – a typically surreal Verlaine ghost story – involving Cadillacs pulling up in graveyards and disembodied arms beckoning the singer to get in while “lightning struck itself” and various twilight loony rejects from King Lear (that last bit’s my own fight of fancy, by the way) babbling crazy retorts to equally crazy questions. The lyrics mean little, I would guess by themselves, but as a scenario for the music here they become utterly compelling.

The song’s structure is practically unlike anything I’ve ever heard before. It transforms from a strident two chord construction to a breathtakingly beautiful chord progression which acts as a motif/climax for the narrative until the music takes over altogether. The band build on some weird Eastern modal scales not unlike those used in the extended improvised break of Fairport Convention’s ‘A Sailor’s Life’ on Unhalfbricking. The guitar solo – either Lloyd or Verlaine – even bears exactly the same tone as Richard Thompson’s. The instrumentation reaches a dazzling frenzied peak before dispersing into tiny droplets of electricity and Verlaine concludes his ghostly narrative as the song ends with that majestic minor chord motif.

‘Marquee Moon’ is the perfect place to draw attention to the band’s musical assets. Individually each player is superb – not in the stereotyped sense of one who has spent hour upon hour over the record player dutifully apeing solo, riffs, embellishments but in that of only a precious few units – Can is the only band that spring to mind here at the moment. Each player has striven to create his own style. Verlaine’s guitar solos take the feed-back sonic “accidents” that Lou Reed fell upon in his most fruitful period and has fashioned a whole style utilizing also, if I’m not mistaken, the staggeringly innovative Jim McGuinn staccato free-form runs spotlit on the hideously underrated Fifth Dimension album (which no one, McGuinn included, has ever bothered to develop).

He takes these potentially cataclysmic ideas and rigorously shapes them into a potential total redefinition of the electric guitar. As far as I’m concerned, as of this moment, Verlaine is probably the most exciting electric lead guitar player barring only Neil Young. As it is, Verlaine’s solo constructions are always unconventional, forever delving into new areas, never satisfied with referring back to formulas. Patti Smith once told me, by the way, that Verlaine religiously spends 12 hours a day practising his guitar playing in his room to Pablo Casals records.

Richard Lloyd is the perfect foil for Verlaine. Another fine musician, his more fluid conventional pitching and manic rhythm work is the perfect complimentary force and his contribution demands to be recognised for the power it possesses. Bassist Smith is always in there holding down the undertow of the music. He emerges only when his presence is required – yet again, a superb player but next to Verlaine, it’s drummer Billy Ficca, visually the least impressive of all members standing – aside the likes of cherub-faced Lloyd and super-aesthetic Verlaine, who truly astonishes. Basically a jazz drummer, Ficca’s adoption of Television’s majestic musical mutations as flesh-to-be-pulsed-out makes his pyrotechnics quite unique. Delicate but firm, he seems to be using every portion of his kit most of the time without ever being over-bearing. As one who knows little or nothing, about drumming, I can only express a quiet awe at the inventiveness behind his technique.

Individual accolades apart, the band’s main clout lays in their ability to function as one and perhaps the best demonstration of this can be found in ‘Elevation’, side two’s opening gambit and, with ‘Venus’, probably this record’s most immediately suitable choice for a single. Layer upon layer of gentle boulevard guitar makes itself manifest until Lloyd holds the finger-picked melody together and Verlaine sings in that by now well accustomed hyena croon. The song again is beautiful, proudly contagious with a chorus that lodges itself in your subconscious like a bullet in the skull – “Elevation don’t go to my head” repeated thrice until on the third line a latent ghost-like voice transmutes “Elevation” into “Television”. Guitars cascade in and out of the mix so perfectly.

‘Guiding Light’ is reflective, stridently poetic – a hymn for aesthetes – which, complete with piano, reminds me slightly of Procol Harum in excelsis. ‘Prove It’, the following track, is another potential single. Verlaine as an asthmatic ostrich-voice Sam Spade “This case … this case I’ve been working on so long” and of course that chorus which I still can’t hesitate quoting – “Prove it/Just the facts/Confidential”. From Chandler, Television move to Hitchcock – at least for the title of the last song on this album: ‘Torn Curtain’ is one of Verlaine’s most recent creations – a most melancholy composition again reminiscent in part of a Procol Harum song although the timbre of Verlaine’s voice is the very antithesis of Gary Booker’s world weary tones. A song of grievous circumstances (as with so many of Verlaine’s lyrics); the facts – cause and effect – remain enigmatically sheltered from the listener. The structure is indeed strange, like some Bavarian funeral march with Verlaine’s vocals at their most yearning. The song is compelling though I couldn’t think of a single number written in the rock idiom I could possibly compare it to.

So that’s it. Marquee Moon, released mid-February in America and probably the beginning of March here. I think it’s a work of genius and had Charlie Murray not done that whole number about “first albums this good being pretty damn hard to come across” with Patti Smith’s Horses last year then I would have pulled the same stunt for this one. Suffice to say – oh listen, it’s released on Elektra, right, and it reminded me, just how great that label used to be. I mean, this is Elektra’s best record since… Strange Days. And (apres moi, le deluge, kiddo) I reckon Tom Verlaine’s probably the single most important rock singer/songwriter/guitarist of his kind since Syd Barrett, which is my credibility probably blown for the rest of the year. But still…

If this review needs to state anything in big bold, black type it’s simply this. Marquee Moon is an album for everyone whatever their musical creeds and/or quirks. Don’t let any other critic put you off with jive turkey terms like ‘avant-garde’ or ‘New York psycho-rock’. This music is passionate, full-blooded, dazzlingly well crafted, brilliantly conceived and totally accessible to anyone who (like myself) has been yearning for a band with the vision to break on through into new dimensions of sonic overdrive and the sheer ability to back it up. Listening to this album reminds me of the ecstatic passion I received when I first heard ‘Eight Miles High’ and ‘Happenings Ten Years Ago’ – before terms like progressive/art rock became synonymous with baulking pretensions and clumsy, crude syntheses of opposite forms.

In a year’s time, when all the current three-chord golden boys have fallen from grace right into the pit to become a parody of Private Eye’s apeing of moron rock bands – Spiggy Topes and The Turds Live at the Roxy – Tom Verlaine and Television will be out there hanging fire, cruising meteorite-like with their fretboards pointed directly at the music of the spheres. Prove it? They’ve already done it right here with this their first album. All you’ve got to do is listen and levitate along with it.

The Liberal Arts as Conversation: traditionalism, careerism, and activism

This from Jack Kerwick in Academic Questions

Undoubtedly, more confusion abounds at present over the nature of a liberal arts education than at any other time. In what follows, I explore three ideals for education—traditionalism, careerism, and activism. In exposing their weaknesses, I take my cue from the philosopher Michael Oakeshott and advocate on behalf of imagining a liberal arts education in terms of a conversation, what, for lack of a better term, I will call “conversationalism.” According to Oakeshott, a liberal arts education hasn’t any purpose beyond itself. In expositing upon this image of higher learning, I will contrast the nature of a conversation with two other modes of discourse with which it is commonly confused: argument and inquiry.

TRADITIONALISM

Unlike careerism and activism, traditionalism insists that a liberal arts education is resolutely nonutilitarian. From this perspective, one’s decision to enter college is nothing more or less than the decision to embark upon a quest for knowledge for the sake of knowledge—not for the sake of any practical concerns. The knowledge that a higher education was thought to provide is what may be called “useless” knowledge.[1] Useless knowledge is knowledge that hasn’t any obvious bearing upon the affairs of everyday life.

Traditionalism is a noble, time-honored ideal. And traditionalists are to be commended for striving to uphold the belief that a liberal arts education was never meant to serve as a means to some specified end. Nonetheless, traditionalism has its problems.[2]

For starters, traditionalism’s attempt to establish the nonutilitarian—the purposeless—character of a liberal arts education must be judged a failure: the concept of knowledge for knowledge’s sake and that of a pursuit are irreconcilable. A pursuit, after all, is purposeful. If the purpose of a liberal arts education is to promote a pursuit, namely, the pursuit of knowledge, then it is subservient to securing a goal, an unrealized state of affairs.

However much time one commits to study, one can never hope to come even remotely close to reaching the end of the inquiry that is a liberal arts education. Thus, like happiness or love, the goal of a higher education—the fulfillment of the inquiry—becomes that much more elusive the more relentlessly one pursues it. For a suitable ideal of liberal learning we must turn elsewhere.

CAREERISM

In this approach to education, colleges and universities exist for the sake of securing livelihoods for students. A liberal arts education is an instrument, the means to a substantive state of affairs to which it is wholly subservient, the mechanism by which graduates promise to make money doing what they’ve been prepared to do.

In spite of the popularity of this ideal, careerism is profoundly inadequate. If a college education derives its worth as job preparation it isn’t a genuine education at all; it is now training: careerism assimilates a college education to training in a “vocation.” But the kind of knowledge conveyed via training in a trade is what Michael Oakeshott describes as “technical knowledge,” knowledge that can be “formulated into rules which are, or may be, deliberately learned, remembered” and written “down…in a book.”[3] Since it “is susceptible of formulation…in propositions,”[4] technical knowledge is what may be called propositional knowledge. However, the idea that knowledge is essentially propositional is an illusion: only some knowledge, and not even the better part of it, can be codified in propositions. Much—indeed, most—knowledge is imbibed through “continuous contact with one who is perpetually practicing it.” It “can neither be taught nor learned,” as Oakeshott argues, “but only imparted and acquired.”[5] Moreover, as long as a liberal arts education is esteemed on account of the occupation that it is supposed to secure, we have no choice but to conclude that the study of the liberal arts is an irrational engagement, since it does not prepare the student for a specific career.[6]

ACTIVISM

For proponents of the activist ideal, the purpose of a liberal arts education is the promotion of political goals and the means by which to implement them. From this perspective, students are regarded as activists-in-training, the agents of transformative change that will bring to fruition the utopian schemes of their professors.

One difficulty with activism is that subordinating education to politics inevitably destroys education. The political is a species of the practical, precisely that mode of human activity centered in the pursuit and obtainment of needs and desires. But a liberal arts education is distinguished by its ability to arrest—not exacerbate—the relentless torrent of wants we are forever trying to satisfy. Furthermore, activism reduces students to ideologues-in-training, for the activist ideal insists upon habituating them into assuming an adversarial stance toward their own civilization.[7]

THE CONVERSATIONAL IDEAL: EDUCATION AS A CONVERSATION

A liberal arts education is not simply the pursuit of knowledge, a career, or the modes of thought and techniques necessary for inaugurating a political utopia. A liberal arts education isn’t a pursuit of anything at all beyond itself. A fitting image would be to call it a conversation.

A conversation is neither an inquiry nor an argument, both of which are defined by their respective goals—their conclusions. Conversation, in glaring contrast, has no further goal. Michel de Montaigne expressed this insight when he said of conversation that it is “the most delightful activity in our lives.”[8] In Conversation: A History of a Declining Art, essayist Stephen Miller underscores this point when he remarks that conversation “is not instrumental.”[9] Miller quotes Judith Martin, the author of Miss Manners’ Guide to Excruciatingly Correct Behavior: “From the direct sales pitch to a play for the goodwill of influential people, the rule is that if it is designed to advance your career, it isn’t conversation.”[10]

In elaborating upon the nature of conversation, Oakeshott writes that it “is not an enterprise designed to yield an extrinsic profit”; rather, it is “an unrehearsed intellectual adventure.”[11] Partners in conversation “are not engaged in an inquiry or a debate: there is no ‘truth’ to be discovered, no proposition to be proved, no conclusion sought,” thus bypassing the postmodern attack on any idea of certainty.[12] Fellow conversationalists “are not concerned to inform, to persuade, or to refute one another,” but rather “differ without disagreeing.”[13] Furthermore, the knowledge to be had from inquiries and arguments is propositional. A different kind of knowing is culled from conversation, a knowledge that is less susceptible to explicit articulation, an awareness of nuances made possible by immersion in the conversation itself. There are three advantages to conceiving of a liberal arts education in terms of a conversation.

First, the idea of education as a conversation underscores the autonomy of each of the disciplines that together comprise a liberal arts education. Conversation is impossible in the absence of multiple voices, and the conversation that is the study of the liberal arts is impossible in the absence of multiple disciplines. The disciplines, in other words, are irreducibly distinct voices. Hence, it is as impossible as it is rude—Oakeshott calls it an exercise in “barbarism”[14]—for any voice to evaluate others by its own standards: the integrity of each voice precludes such attempts.

Second, the cornerstone virtue inculcated by an education in the liberal arts is not, as lately has typically been thought, “tolerance.” Rather, it is considerateness. Students are equally obliged to contribute their respective voices to the conversation and permit others to do the same. Listening, then, is as important as speaking.

Third, students often question “the usefulness” of their course material, to which conversationalists have a ready reply: A liberal arts education is no more and no less “useful” than any other intrinsically valuable activity such as, say, spending time with friends. To borrow Oakeshott’s term, a liberal arts education is resolutely not “utilitarian,” it is “dramatic.”[15] When the eye is on the merely useful, the desire is to exploit. But “useless” engagements are occasions in which to delight.

According to conversationalism, knowledge primarily consists of intellectual and moral habits, not propositions. As English educator and poet William Johnson Cory said, students “are not engaged so much in acquiring knowledge as in making mental efforts under criticism.”[16] While a “certain amount of knowledge” can be secured and recollected, much is forgotten. And yet, this is no cause for regret, “for the shadow of lost knowledge at least protects” students “from many illusions.” Still, Cory asserts, an education isn’t so much for “knowledge as for developing arts and habits.” A liberal arts education supplies students with “the habit of attention,” “the art of expression,” “the art of assuming at a moment’s notice a new intellectual position,” “the art of entering quickly into another person’s thoughts,” “the habit of submitting to censure and refutation,” “the art of indicating assent or dissent in graduated terms,” “the habit of regarding minute points of accuracy,” and “the art of working out what is possible in a given time.”[17]

A liberal arts education understood as a conversation breeds “taste, discrimination,” “mental courage and mental soberness.” Perhaps most important, such an education makes possible a degree of “self-knowledge” that would have otherwise remained foreclosed to students.[18]

When a liberal arts education is understood in terms of a conversation, it is not the mastery of rules, principles, facts, methods—summarily, propositions. Rather, the aim of an education so conceived is the cultivation of the excellences of mind and character, head and heart, virtues—“habits and arts”—that endure long after students have obtained their degrees.

[1] For an interesting discussion of “useless knowledge,” see Alan Watts, Tao: The Watercourse Way (New York: Pantheon Books, 1975).

[2] In recent times, particularly with the onset of postmodernism, traditionalism has been challenged to the point of mocking dismissal. It has become an axiom among many academics that the idea of a disinterested pursuit of knowledge is rhetoric designed to conceal the ideological, political, and/or economic interests of those who have advanced it. According to this view, there can be no disinterested pursuit of knowledge or truth not only because there is no such thing as disinterestedness, but because there is no such thing as knowledge or truth. Knowledge and truth are at once imaginary and intimidating, disempowering those who dare to question the status quo. But we will see how conversationalism deflects this criticism.

[3] Michael Oakeshott, “Rationalism in Politics,” in Rationalism in Politics and Other Essays (Indianapolis, IN: Liberty Fund, 1991), 12.

[4] Ibid., 14.

[5] Ibid., 15.

[6] Some have attributed the condition of the contemporary university to what they describe as “excessive careerism.” I think that they’ve struck upon the wrong culprit. But for an insightful analysis on this score, see Thomas Naylor and William Willimon, The Abandoned Generation: Rethinking Higher Education (Grand Rapids, MI: Wm. B. Eerdsman Publishing Co., 1995).

[7] The problems with activism have long been noted by conservatives and other critics of the leftist ideology from which the activist ideal draws virtually all of its sustenance. However, it’s imperative to recognize that the undesirability of the activist ideal does not stem from leftist ideology, but that an education in the liberal arts has been replaced by training in any ideology. In other words, the remedy to the activist ideal is not to recruit “conservative” faculty, for a training in right-wing ideology is just as antithetical to the character of a liberal arts education.

[8 ]Michel de Montaigne, On Friendship, from The Complete Essays, trans. M.A. Screech (1580; New York: Penguin Classics, 1991), 32.

[9] Stephen Miller, Conversation: A History of a Declining Art (New Haven, CT: Yale University Press, 2006), 13.

[10] Ibid.

[11] Michael Oakeshott, “The Voice of Poetry in the Conversation of Mankind,” in Rationalism in Politics, 490.

[12] Ibid., 489.

[13] Ibid.

[14] Ibid., 492.

[15] Michael Oakeshott, “On Being Conservative,” in Rationalism in Politics, 417.

[16] Oakeshott, “Voice of Poetry,” 491, citing William Johnson Cory, Eton Reform, vol. 2 (London: Longman, Green, Longman, and Roberts, 1861), 6, archived at https://archive.org/details/etonreform02cory.

[17] Quoted material taken from Cory, Eton Reform, 6–7.

[18] Ibid., 492.

Minds, Models and Milieux: Commemorating the Centennial of the Birth of Herbert Simon

Due January 2016 from Palgrave Macmillan.

Foreword by Katherine Simon Frank

1. Herbert Simon – a Hedgehog and a Fox by Roger Frantz and Leslie Marsh

Part I – Minds

2. Embodied Functionalism and Inner Complexity: Simon’s 21st-Century Mind by Robert Rupert

3. Towards a Rational Theory of Heuristics by Gerd Gigerenzer

4. From The Sciences of the Artificial to Cognitive History by Subrata Dasgupta

5. Rationality and the True Human Condition by Ron Sun

6. Boundedly Rational Decision-Making under Certainty and Uncertainty: Some Reflections on Herbert Simon by Mark Pingle

Part II – Models

7. Herbert Simon and Agent-Based Computational Economics by Shu-Heng Chen and Ying-Fang Kai

8. Simon’s (Lost?) Legacy in Agent-Based Computational Economics by Marco Castellani and Marco Novarese

9. From Bounded Rationality to Expertise by Fernand Gobet

10. Multiple Equilibria, Bounded Rationality, and the Indeterminacy of Economic Outcomes: Closing the System with Institutional Parameters by Morris Altman

11. Organizational decisions in the lab: the long road from the Art to the Science of organization by Massimo Egidi

Part III – Milieux

12. Simon on Social Identification: Two Connections with Bounded Rationality by Rouslan Koumakhov

13. Models of environment by Marcin Miłkowski

14. Bounded Rationality and Social Relationships in Simon’s Perspective by Stefano Fiori

15. Bounded Rationality in the Digital Age by Peter Earl

16. Herbert Simon and Some Unresolved Tensions in Professional Schools by Mie Augier and Bhavna Hariharan

Television: new album

Despite rumours of some credence we’ve been waiting some eight years for the new Television album — don’t rush into it lads! To feed my addiction I was one of those who sent off for a cassette import of The Blow-Up (1982) if only to hear “Little Johnny Jewel”. We waited 14 years for album three (1992), not withstanding Tom Verlaine’s solo outings keeping us nourished, and of course we WILL wait for another album from (IMHO) one of the three greatest “rock” bands of all time and certainly the greatest one still functioning with absolute artistic integrity — no showbiz schlock for these guys.

I just wish that (a) journalistic glove-puppets would stop using the totally misappropriated trope “punk” and that (b) “purist” fans stop harking back to Richard Hell and Richard Lloyd — Jimmy Rip lovingly and brilliantly really does the business. Regarding the former, one of Television’s unlikely virtues is that their sound is ahistorical — it exists in a soundscape that is not subject to the vagaries of changing fashions, technological or otherwise. It has a timeless transcendental quality to it.

We know that Verlaine and Bowie saw each other as kindred spirits — though, as we know, Bowie gave up the ghost after he brilliantly covered Verlaine’s “Kingdom Come” in his last great album Scary Monsters (1980). Tom Verlaine . . . as indicated earlier pursued greatness not “careeriness” and whose artistic vision is still a wonder to behold. Long may the “Frantz Kafka” of musicality continue.

Why Do Intellectuals Oppose Capitalism?

Still on Nozick and perhaps somewhat of a companion piece to Williams’ essay On Hating and Despising Philosophy. Though this Nozick essay is very well-known engagement with it tends to be primarily in the service of ideological cherry-pickers or scornful silence from its targets. Originally published in Cato Policy Report January/February 1998 and reprinted with some amendments in Socratic Puzzles, Chapter 15, pp. 280-295

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It is surprising that intellectuals oppose capitalism so. Other groups of comparable socio-economic status do not show the same degree of opposition in the same proportions. Statistically, then, intellectuals are an anomaly. Not all intellectuals are on the “left.” Like other groups, their opinions are spread along a curve. But in their case, the curve is shifted and skewed to the political left.

By intellectuals, I do not mean all people of intelligence or of a certain level of education, but those who, in their vocation, deal with ideas as expressed in words, shaping the word flow others receive. These wordsmiths include poets, novelists, literary critics, newspaper and magazine journalists, and many professors. It does not include those who primarily produce and transmit quantitatively or mathematically formulated information (the numbersmiths) or those working in visual media, painters, sculptors, cameramen. Unlike the wordsmiths, people in these occupations do not disproportionately oppose capitalism. The wordsmiths are concentrated in certain occupational sites: academia, the media, government bureaucracy.

Wordsmith intellectuals fare well in capitalist society; there they have great freedom to formulate, encounter, and propagate new ideas, to read and discuss them. Their occupational skills are in demand, their income much above average. Why then do they disproportionately oppose capitalism? Indeed, some data suggest that the more prosperous and successful the intellectual, the more likely he is to oppose capitalism. This opposition to capitalism is mainly ”from the left” but not solely so. Yeats, Eliot, and Pound opposed market society from the right.

The opposition of wordsmith intellectuals to capitalism is a fact of social significance. They shape our ideas and images of society; they state the policy alternatives bureaucracies consider. From treatises to slogans, they give us the sentences to express ourselves. Their opposition matters, especially in a society that depends increasingly upon the explicit formulation and dissemination of information.

We can distinguish two types of explanation for the relatively high proportion of intellectuals in opposition to capitalism. One type finds a factor unique to the anti-capitalist intellectuals. The second type of explanation identifies a factor applying to all intellectuals, a force propelling them toward anti-capitalist views. Whether it pushes any particular intellectual over into anti-capitalism will depend upon the other forces acting upon him. In the aggregate, though, since it makes anti-capitalism more likely for each intellectual, such a factor will produce a larger proportion of anti-capitalist intellectuals. Our explanation will be of this second type. We will identify a factor which tilts intellectuals toward anti-capitalist attitudes but does not guarantee it in any particular case.

The Value of Intellectuals

Intellectuals now expect to be the most highly valued people in a society, those with the most prestige and power, those with the greatest rewards. Intellectuals feel entitled to this. But, by and large, a capitalist society does not honor its intellectuals. Ludwig von Mises explains the special resentment of intellectuals, in contrast to workers, by saying they mix socially with successful capitalists and so have them as a salient comparison group and are humiliated by their lesser status. However, even those intellectuals who do not mix socially are similarly resentful, while merely mixing is not enough–the sports and dancing instructors who cater to the rich and have affairs with them are not noticeably anti-capitalist.

Why then do contemporary intellectuals feel entitled to the highest rewards their society has to offer and resentful when they do not receive this? Intellectuals feel they are the most valuable people, the ones with the highest merit, and that society should reward people in accordance with their value and merit. But a capitalist society does not satisfy the principle of distribution “to each according to his merit or value.” A􏰀part from the gifts, inheritances, and gambling winnings that occur in a free society, the market distributes to those who satisfy the perceived market-expressed demands of others, and how much it so distributes depends on how much is demanded and how great the alternative supply is. Unsuccessful businessmen and workers do not have the same animus against the capitalist system as do the wordsmith intellectuals. Only the sense of unrecognized superiority, of entitlement betrayed, produces that animus.

Why do wordsmith intellectuals think they are most valuable, and why do they think distribution should be in accordance with value? Note that this latter principle is not a necessary one. Other distributional patterns have been proposed, including equal distribution, distribution according to moral merit, distribution according to need. Indeed, there need not be any pattern of distribution a society is aiming to achieve, even a society concerned with justice. The justice of a distribution may reside in its arising from a just process of voluntary exchange of justly acquired property and services. Whatever outcome is produced by that process will be just, but there is no particular pattern the outcome must fit. Why, then, do wordsmiths view themselves as most valuable and accept the principle of distribution in accordance with value?

From the beginnings of recorded thought, intellectuals have told us their activity is most valuable. Plato valued the rational faculty above courage and the appetites and deemed that philosophers should rule; Aristotle held that intellectual contemplation was the highest activity. It is not surprising that surviving texts record this high evaluation of intellectual activity. The people who formulated evaluations, who wrote them down with reasons to back them up, were intellectuals, after all. They were praising themselves. Those who valued other things more than thinking things through with words, whether hunting or power or uninterrupted sensual pleasure, did not bother to leave enduring written records. Only the intellectual worked out a theory of who was best.

The Schooling of Intellectuals

What factor produced feelings of superior value on the part of intellectuals? I want to focus on one institution in particular: schools. As book knowledge became increasingly important, schooling–the education together in classes of young people in reading and book knowledge–spread. Schools became the major institution outside of the family to shape the attitudes of young people, and almost all those who later became intellectuals went through schools. There they were successful. They were judged against others and deemed superior. They were praised and rewarded, the teacher’s favorites. How could they fail to see themselves as superior? Daily, they experienced differences in facility with ideas, in quick-wittedness. The schools told them, and showed them, they were better.

The schools, too, exhibited and thereby taught the principle of reward in accordance with (intellectual) merit. To the intellectually meritorious went the praise, the teacher’s smiles, and the highest grades. In the currency the schools had to offer, the smartest constituted the upper class. Though not part of the official curricula, in the schools the intellectuals learned the lessons of their own greater value in comparison with the others, and of how this greater value entitled them to greater rewards.

The wider market society, however, taught a different lesson. There the greatest rewards did not go to the verbally brightest. There the intellectual skills were not most highly valued. Schooled in the lesson that they were most valuable, the most deserving of reward, the most entitled to reward, how could the intellectuals, by and large, fail to resent the capitalist society which deprived them of the just deserts to which their “superiority” en􏰀titled them? Is it surprising that what the schooled intellectuals felt for capitalist society was a deep and sullen animus that, although clothed with various publicly appropriate reasons, continued even when those particular reasons were shown to be inadequate?

In saying that intellectuals feel entitled to the highest rewards the general society can offer (wealth, status, etc.), I do not mean that intellectuals hold these rewards to be the highest goods. Perhaps they value more the intrinsic rewards of intellectual activity or the esteem of the ages. Nevertheless, they also feel entitled to the highest appreciation from the general society, to the most and best it has to offer, paltry though that may be. I don’t mean to emphasize especially the rewards that find their way into the intellectuals’ pockets or even reach them personally. Identifying themselves as intellectuals, they can resent the fact that intellectual activity is not most highly valued and rewarded.

The intellectual wants the whole society to be a school writ large, to be like the environment where he did so well and was so well appreciated. By incorporating standards of reward that are different from the wider society, the schools guarantee that some will experience downward mobility later. Those at the top of the school’s hierarchy will feel entitled to a top position, not only in that micro-society but in the wider one, a society whose system they will resent when it fails to treat them according to their self-prescribed wants and entitlements. The school system thereby produces anti-capitalist feeling among intellectuals. Rather, it produces anti-capitalist feeling among verbal intellectuals. Why do the numbersmiths not develop the same attitudes as these wordsmiths? I conjecture that these quantitatively bright children, although they get good grades on the relevant examinations, do not receive the same face-to-face attention and approval from the teachers as do the verbally bright children. It is the verbal skills that bring these personal rewards from the teacher, and apparently it is these rewards that especially shape the sense of entitlement.

Central Planning in the Classroom

There is a further point to be added. The (future) wordsmith intellectuals are successful within the formal, official social system of the schools, wherein the relevant rewards are distributed by the central authority of the teacher. The schools contain another informal social system within classrooms, hallways, and schoolyards, wherein rewards are distributed not by central direction but spontaneously at the pleasure and whim of schoolmates. Here the intellectuals do less well.
It is not surprising, therefore, that distribution of goods and rewards via a centrally organized distributional mechanism later strikes intellectuals as more appropriate than the “a􏰀narchy and chaos” of the marketplace. For distribution in a centrally planned socialist society stands to distribution in a capitalist society as distribution by the teacher stands to distribution by the schoolyard and hallway.

Our explanation does not postulate that (future) intellectuals constitute a majority even of the academic upper class of the school. This group may consist mostly of those with substantial (but not overwhelming) bookish skills along with social grace, strong motivation to please, friendliness, winning ways, and an ability to play by (and to seem to be following) the rules. Such pupils, too, will be highly regarded and rewarded by the teacher, and they will do extremely well in the wider society, as well. (And do well within the informal social system of the school. So they will not especially accept the norms of the school’s formal system.) Our explanation hypothesizes that (future) intellectuals are disproportionately represented in that portion of the schools’ (official) upper class that will experience relative downward mobility. Or, rather, in the group that predicts for itself a declining future. The animus will arise before the move into the wider world and the experience of an actual decline in status, at the point when the clever pupil realizes he (probably) will fare less well in the wider society than in his current school situation. This unintended consequence of the school system, the anti-capitalist animus of intellectuals, is, of course, reinforced when pupils read or are taught by intellectuals who present those very anti-capitalist attitudes.

No doubt, some wordsmith intellectuals were cantankerous and questioning pupils and so were disapproved of by their teachers. Did they too learn the lesson that the best should get the highest rewards and think, despite their teachers, that they themselves were best and so start with an early resentment against the school system’s distribution? Clearly, on this and the other issues discussed here, we need data on the school experiences of future wordsmith intellectuals to refine and test our hypotheses.

Stated as a general point, it is hardly contestable that the norms within schools will affect the normative beliefs of people after they leave the schools. The schools, after all, are the major non-familial society that children learn to operate in, and hence schooling constitutes their preparation for the larger non-familial society. It is not surprising that those successful by the norms of a school system should resent a society, adhering to different norms, which does not grant them the same success. Nor, when those are the very ones who go on to shape a society’s self-image, its evaluation of itself, is it surprising when the society’s verbally responsive portion turns against it. If you were designing a society, you would not seek to design it so that the wordsmiths, with all their influence, were schooled into animus against the norms of the society.

Our explanation of the disproportionate anti-capitalism of intellectuals is based upon a very plausible sociological generalization.

In a society where one extra-familial system or institution, the first young people enter, distributes rewards, those who do the very best therein will tend to internalize the norms of this institution and expect the wider society to operate in accordance with these norms; they will feel entitled to distributive shares in accordance with these norms or (at least) to a relative position equal to the one these norms would yield. Moreover, those constituting the upper class within the hierarchy of this first extra-familial institution who then experience (or foresee experiencing) movement to a lower relative position in the wider society will, because of their feeling of frustrated entitlement, tend to oppose the wider social system and feel animus toward its norms.

Notice that this is not a deterministic law. Not all those who experience downward social mobility will turn against the system. Such downward mobility, though, is a factor which tends to produce effects in that direction, and so will show itself in differing proportions at the aggregate level. We might distinguish ways an upper class can move down: it can get less than another group or (while no group moves above it) it can tie, failing to get more than those previously deemed lower. It is the first type of downward mobility which especially rankles and outrages; the second type is far more tolerable. Many intellectuals (say they) favor equality while only a small number call for an aristocracy of intellectuals.

Our hypothesis speaks of the first type of downward mobility as especially productive of resentment and animus.

The school system imparts and rewards only some skills relevant to later success (it is, after all, a specialized institution) so its reward system will differ from that of the wider society. This guarantees that some, in moving to the wider society, will experience downward social mobility and its attendant consequences. Earlier I said that intellectuals want the society to be the schools writ large. Now we see that the resentment due to a frustrated sense of entitlement stems from the fact that the schools (as a specialized first extra-familial social system) are not the society writ small.

Our explanation now seems to predict the (disproportionate) resentment of schooled intellectuals against their society whatever its nature, whether capitalist or communist. (Intellectuals are disproportionately opposed to capitalism as compared with other groups of similar socioeconomic status within capitalist society. It is another question whether they are disproportionately opposed as compared with the degree of opposition of intellectuals in other societies to those societies.) Clearly, then, data about the attitudes of intellectuals within communist countries toward apparatchiks would be relevant; will those intellectuals feel animus toward that system?

Our hypothesis needs to be refined so that it does not apply (or apply as strongly) to every society. Must the school systems in every society inevitably produce anti-societal animus in the intellectuals who do not receive that society’s highest rewards? Probably not. A capitalist society is peculiar in that it seems to announce that it is open and responsive only to talent, individual initiative, personal merit. Growing up in an inherited caste or feudal society creates no expectation that reward will or should be in accordance with personal value. Despite the created expectation, a capitalist society rewards people only insofar as they serve the market-expressed desires of others; it rewards in accordance with economic contribution, not in accordance with personal value. However, it comes close enough to rewarding in accordance with value–value and contribution will very often be intermingled–so as to nurture the expectation produced by the schools. The ethos of the wider society is close enough to that of the schools so that the nearness creates resentment. Capitalist societies reward individual accomplishment or announce they do, and so they leave the intellectual, who considers himself most accomplished, particularly bitter.

Another factor, I think, plays a role. Schools will tend to produce such anti-capitalist attitudes the more they are attended together by a diversity of people. When almost all of those who will be economically successful are attending separate schools, the intellectuals will not have acquired that attitude of being superior to them. But even if many children of the upper class attend separate schools, an open society will have other schools that also include many who will become economically successful as entrepreneurs, and the intellectuals later will resentfully remember how superior they were academically to their peers who advanced more richly and powerfully. The openness of the society has another consequence, as well. The pupils, future wordsmiths and others, will not know how they will fare in the future. They can hope for anything. A society closed to advancement destroys those hopes early. In an open capitalist society, the pupils are not resigned early to limits on their advancement and social mobility, the society seems to announce that the most capable and valuable will rise to the very top, their schools have already given the academically most gifted the message that they are most valuable and deserving of the greatest rewards, and later these very pupils with the highest encouragement and hopes see others of their peers, whom they know and saw to be less meritorious, rising higher than they themselves, taking the foremost rewards to which they themselves felt themselves entitled. Is it any wonder they bear that society an animus?

Some Further Hypotheses

We have refined the hypothesis somewhat. It is not simply formal schools but formal schooling in a specified social context that produces anti-capitalist animus in (wordsmith) intellectuals. No doubt, the hypothesis requires further refining. But enough. It is time to turn the hypothesis over to the social scientists, to take it from armchair speculations in the study and give it to those who will immerse themselves in more particular facts and data. We can point, however, to some areas where our hypothesis might yield testable consequences and predictions. First, one might predict that the more meritocratic a country’s school system, the more likely its intellectuals are to be on the left. (Consider France.) Second, those intellectuals who were “late bloomers” in school would not have developed the same sense of entitlement to the very highest rewards; therefore, a lower percentage of the late-bloomer intellectuals will be anti-capitalist than of the early bloomers. Third, we limited our hypothesis to those societies (unlike Indian caste society) where the successful student plausibly could expect further comparable success in the wider society. In Western society, women have not heretofore plausibly held such expectations, so we would not expect the female students who constituted part of the academic upper class yet later underwent downward mobility to show the same anti-capitalist animus as male intellectuals. We might predict, then, that the more a society is known to move toward equality in occupational opportunity between women and men, the more its female intellectuals will exhibit the same disproportionate anti-capitalism its male intellectuals show.

Some readers may doubt this explanation of the anti-capitalism of intellectuals. Be this as it may, I think that an important phenomenon has been identified. The sociological generalization we have stated is intuitively compelling; something like it must be true. Some important effect therefore must be produced in that portion of the school’s upper class that experiences downward social mobility, some antagonism to the wider society must get generated. If that effect is not the disproportionate opposition of the intellectuals, then what is it? We started with a puzzling phenomenon in need of an explanation. We have found, I think, an explanatory factor that (once stated) is so obvious that we must believe it explains some real phenomenon.

A History of Irish Music: Rory Gallagher

Larry Kirwan has kindly made available his chapter on Rory here. Also looking forward to reading Marcus Connaughton’s Rory Gallagher: His Life and Times

Nozick and Feuerbach on Eating

As improbable a pairing as one can find, Nozick’s essay reminded me of Feuerbach’s The Essence of Christianity (see extract after Nozick).
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Robert Nozick "The Holiness of Everyday Life" in The Examined Life (1989, chapter 6, pp. 55-60).

EACH AND EVERY portion of reality, the Transcendentalists said, when viewed and experienced properly, stands for and contains the whole. Likewise, religious traditions do not always view holiness as removing oneself from everyday life and concerns. In the Jewish tradition, the 613 commandments, or mitzvot, raise and sanctify every portion of life just as the people who follow them view themselves as having been sanctified through being given them. The Buddhist tradition, not only in its Zen aspect, brings the meditative attitude of complete attention and focus to all activities. Holiness need not be a separate sphere. There also is the holiness of everyday life.

How deeply might we respond to the everyday things in our lives, for instance to life’s ordinary necessities? For the most part, we take in food and air, we eat and breathe, without special attention. How do these activities differ when we attend to them? And are these differences desirable?

Eating is an intimate relationship. We place pieces of external reality inside ourselves; we swallow them more deeply inside, where they are incorporated into our own stuff, our own bodily being of flesh and blood. It is a remarkable fact that we turn parts of external reality into our own substance. We are least separate from the world in eating. The world enters into us; it becomes us. We are constituted by portions of the world.

This raises primal issues. Is the world safe to take in? How do we come to trust it or find this out? Does the world care enough about us to nourish us? The example David Hume used in formulating the problem of induction was whether we can know that bread, nourishing in the past, will continue to nourish us. Bertrand Russell’s favored induction example was whether we can know that the sun will rise tomorrow. (He also told of a chicken: the person who each previous morning has fed it this morning has come to kill.) Is it an accident that the problem of induction expresses itself as a worry over loss, of nourishment, of warmth and light, of safety?

Eating food with someone can be a deep mode of sociability — the Romans were offended that the Hebrews would not join them in meals — a way of sharing together nurturance and the incorporation within ourselves of the world, as well as sharing textures, tastes, conversation, and time. Rapport and intimacy thrive when our normal physical boundaries are relaxed to take something in; it is no accident that we often suggest getting together with another over a meal. The loving preparation of food, the visual beauty it presents, sensuousness in eating, the daily sharing of such meals in leisure and loveliness—all these can be a romantic couple’s way of being lovingly together, a way for one or both to create a piece of the world they treasure. (For a large number of people in the world, the basic fact about food is how difficult, sometimes impossible, it is to come by. We should remember the biological and personal havoc this produces, even as we study food’s social and symbolic significance when it is plentiful.)

Eating has an individual side also, a nonsocial one. What is its character when it is attentive, neither oblivious nor aesthetically distant? First, awareness is focused upon the activity of taking in the food, not simply on the food’s qualities. We meet food in the anteroom of the mouth and greet it there. We probe and explore it, surround it, permeate it with juices, press it with our tongues against the roof of the mouth along that hard ridge directly above the teeth, place it under suction and pressure, move it around. We know its texture fully; it holds no secrets or hidden parts. We play with the food, we make friends with it, we welcome it inside.

We open ourselves, also, to the specific character of the food, to the taste and the texture, and so to the inner quality of the substance. I want to speak of the purity and dignity of an apple, the explosive joy and sexuality of a strawberry. (I would have found this ridiculously overblown once.) I have not myself tasted that many foods, but the times I did seemed a mode of knowing them in their inner essence. (note) There is a Buddhist story of a man who, fleeing a tiger, swings on a vine over a precipice and sees another tiger waiting below; then two mice start to gnaw away at the vine. He sees a strawberry near him and with one free hand he plucks and eats it. “How sweet it tasted!” We wonder how the man could have responded thus to the strawberry in that situation. He did because he tasted the berry and knew it. What I don’t know—and the story does not go on to tell us—is his knowledge of the tiger.

On the basis of only a very small sample, I think that many foods open their essence to us in this way and teach us. I don’t know whether artful concoctions can give us such knowledge, and so I am skeptical about the assumption behind Brillat-Savarin’s asking Adam and Eve, “who ruined yourself for an apple, what might you not have done for a truffled turkey?” A creator of an original dish that did impart new lessons would be a significant creator. While I do not think the world has been stocked with these substances for our benefit and education, how these foods have come to have such amazing essences is a question worth wondering about. It would be nice to think that by so knowing them and incorporating substances within our flesh we raise them to a higher plane of being and so benefit them in turn. (Could animal flesh, though hardly the animal itself, be benefited by being incorporated and transformed into the flesh of a being with greater consciousness?)

Eating with awareness also brings powerful emotions: the world as a nurturative place; oneself as worthy of receiving such nurturance, excitement, primal contact with the nurturative mother; the security of being at home in the world, connection to other life forms, thankfulness too—the religious will add—for the fruits of creation.

The mouth is a versatile arena, the location of eating, speaking, kissing, biting, and (in conjunction with the nasal cavity) breathing. Perhaps the first four can be emotionally laden, but isn’t breathing uncomplicated and automatic? When one attends to breathing, though, it turns out also to be a full and rich process. Eastern techniques of meditation recommend “following the breath,” focusing upon the inhalation, the pause, the exhalation, the pause before the next inhalation, and so on, repeating the cycle. One can also change the rate and tempo of these, prolonging the exhalation in a constant slow process, holding the breath after the inhalation. Remarkably, such simple breathing techniques alter the nature of one’s awareness, in part by becoming the simple focus of awareness, bringing into a nondistracted point and quieting other thoughts. In part, also, the changes in consciousness might be immediate physiological results of alterations in mode of breathing. Yet, there also are the changes wrought by the fact that it is breathing that the attention is focused upon. Breathing, like eating, is a direct connection with the external world, a bringing it inside oneself. It involves immediate changes in the body, including large changes in the size of one’s chest cavity and belly. Perceiving one’s physical being as a bellows, breathing the air in and out, enlarging and contracting in reciprocal relation to the outside space, being a container of space within a larger space, sometimes unable to distinguish between the held-in breath and the held-out breath until you see what happens next—all this makes one feel less enclosed within distinct boundaries as a separate entity. Breathing the world, even sometimes feeling one is being breathed by it, can be a profound experience of nonseparation from the rest of existence. Within meditative breathing, emotions too can be brought more easily under control and evaluation—they do not simply wash over one to produce unmediated effects.

Moreover, a prolonged attention to breathing, as in meditative practice that “follows the breath,” following the rising and falling of the chest and diaphragm, can develop the attention so that it becomes supple and concentrated, not subject to wandering, able to be maintained indefinitely on an object, and this attentiveness to breathing can be interwoven within daily activities too, thereby sharpening the nature of the attention to everything falling within the interstices of the noticed breathing. One can place external things or emotions, if fearful or stressful, within the calm and calming latticework of this attentive breathing, and within this attended-to structure too, subtler bodily rhythms become apparent which in turn can be attended to and followed, forming yet another lattice from which one can be suspended to delve deeper still.

To carry on our eating and breathing in this intense meditative fashion most of the time would insufficiently recognize the relaxed and easy naturalness these activities can have, but it seems important to do so sometimes at least and to carry with us the lessons we have learned thereby, returning on occasion to reconfirm these lessons or to learn new ones.

Attention also can he focused upon other things, inner or outer. The sun can be experienced as a direct source of light and warmth for oneself, and (aided by one’s other knowledge) as the major energy source for all life processes here on earth. One’s own body and its movement can also be focused upon attentively.

The most ordinary objects yield surprises to attentive awareness. Chairs, tables, cars, houses, torn papers, strewn objects, all stand in their place, waiting, patiently. An object that is displaced or awkwardly placed on purpose is no less a patient waiter. It is as though being an entity, any kind of entity, has its own salient quality, and we can become aware of something’s entityhood, its sheer beingness. Everything is right exactly as it is, vet everything also is poised expectantly. Is some grand event being awaited, is there something we are to do besides simply knowing entities? (Are these dignified objects waiting there to be loved?)

Still, to linger on these matters and describe these details may seem “too precious.” It would be a shame, though, to pass through one’s life oblivious to what life and the world contains and reveals— like someone walking through rooms where wondrous music is playing, deaf to it all. Perhaps, after all, there is a reason why we have bodies.

Holiness is to stand in a special and close relation to the divine. To respond to holy things as holy may place us, too, in a more special relation to them. Seeing everyday life as holy is in part seeing the world and its contents as infinitely receptive to our activities of exploring, responding, relating and creating, as an arena that would richly repay these activities no matter how far they are taken, whether by an individual or by all of humanity together throughout its time.

 

Note: I am, in fact, rather ignorant about all this, having carried out only a few experiments. My only excuse for imparting such very limited knowledge and speculations is that I do not find even these in print elsewhere. The literature of Buddhist meditation is relevant, though, perhaps especially that of the Vipassana tradition. Among methods of achieving enlightenment, Eastern tradition includes these two: "When eating or drinking, become the taste of the food or drink, and be filled": "Suck something and become the sucking." (See Paul Reps, Zen Flesh, Zen Bones [New York: Anchor Books], items 47 and 52 in the section on "Centering.")

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From Feuerbach’s The Essence of Christianity (London: TRÜBNEE, Ludgate Hill, Second edition, 1881, tr. Marian Evans, pp. 240-241).

The object in the sacrament of the Lord’s Supper is the body of Christ,— a real body; but the necessary predicates of reality are wanting to it. Here we have again, in an example presented to the senses, what we have found in the nature of religion in general. The object or subject in the religious syntax is always a real human or natural sub­ject or predicate; but the closer definition, the essential predicate of this predicate is denied. The subject is sen­suous, but the predicate is not sensuous, i.e., is contradic­tory to the subject. I distinguish a real body from an imaginary one only by this, that the former produces corporeal effects, involuntary effects, upon me. If therefore the bread be the real body of God, the partaking of it must produce in me immediate, involuntary sanctifying effects; I need to make no special preparation, to bring with me no holy disposition. If I eat an apple, the apple of itself gives rise to the taste of apple. At the utmost I need nothing more than a healthy stomach to perceive that the apple is an apple. The Catholics require a state of fasting as a condition of partaking the Lord’s Supper. This is enough. I take hold of the body with my lips, I crush it with my teeth, by my oesophagus it is carried into my stomach; I assimilate it corporeally, not spiritually.* Why are its effects not held to be corporeal? Why should not this body, which is a corporeal, but at the same time heavenly, super­ natural substance, also bring forth in me corporeal and yet at the same time holy, supernatural effects? If it is my disposition, my faith, which alone makes the divine body a means of sanctification to me, which transubstantiates the dry bread into pneumatic animal substance, why do I still need an external object? It is I myself who give rise to the effect of the body on me, and therefore to the reality of the body; I am acted on by myself. Where is the objective truth and power? He who partakes the Lord’s Supper unworthily has nothing further than the physical enjoyment of bread and wine. He who brings nothing, takes nothing away. The specific difference of this bread from common natural bread rests therefore only on the difference between the state of mind at the table of the Lord, and the state of mind at any other table. “He that eateth and drinketh unworthily, eateth and drinketh damnation to himself, not discerning the Lord’s body.” (1 Cor. xi. 29). But this mental state itself is dependent only on the significance which I-give to this bread. If it has for me the significance not of bread, but of the body of Christ, then it has not the effect of common bread. In the significance attached to it lies its effect. I do not eat to satisfy hunger; hence I consume only a small quantity. Thus to go no further than the quantity taken, which in every other act of taking food plays an essential part, the significance of common bread is externally set aside.

 

* This,” says Luther, “is in summa our opinion, that in and with the bread, the body of Christ is truly eaten; thus, that all which the bread undergoes and effects, the body of Christ undergoes and effects ; that it is divided, eaten and chewed with the teeth propter unionem sacramentalem.” (Plank’s Gesch. der Entst. des protest. Lehrbeg. B. viii. s. 369). Elsewhere, it is true, Luther denies that the body of Christ, although it is partaken of corporeally, “is chewed and digested like a piece of beef. (Th. xix. p. 429.) No wonder; for that which is partaken of is an object without objectivity, a body without corporeality, flesh without the qualities of flesh; “spiritual flesh,” as Luther says, i.e., imaginary flesh. Be it observed further, that the Protestants also take the Lord’s Supper fasting, but this is merely a custom with them, not a law. (See Luther, Th. xviii. p. 200, 201.)

Northern Soul

Not really knowing what to expect except that I was hopeful that since this film had Steve Coogan and his production company behind it, it would be half decent. (Having recently sat through the absolutely irritatingly cliched shite that is Woman in Gold) it came as a relief that despite the unflinching grittiness (think extreme Mike Leigh territory) the film was rather good. But it’s really all about the wonderful music and the loving appeal it had/has to kids of the age such as myself — bored with musty rock and left cold by insipid Abba. It was music that intricately combined a la Curtis Mayfield and Bobby Womack both the beauty and grim atmospherics of the early seventies urban landscape that was also captured by Bowie’s nihilistic Diamond Dogs, with its Isaac Hayes-like 1984 and beginning to morph into what came to be called plastic soul — i.e. Young Americans and in ’76 Golden Years. Speaking of the Northern soul phenomenon it was in 1995 that I saw (I think a BBC production) an entertaining two-parter called Soul Survivors. Ten years later on a plane from Boston to LA I happened to be sitting next to the show’s star Antonio Fargas (and his wife) in cattle class. He was on his way back to LA from a Starsky and Hutch convention in Paris. He was amazed that (a) I didn’t say “hey aren’t you Huggy Bear?” but that I knew his real name and (b) that I knew about Soul Survivors. Anyway, we talked at length about the music and his colleagues from S+H, notably Bernie Hamilton. Anyway, check out the trailer below: the track listing for the CD that accompanies the film listed below — so much to explore. (We are indebted to Tony Blackburn (as DJ) and Ian Levine for bringing us mainstream (TB) and rare soul to us (IL!))

Disk 1

1. Right Track – Billy Butler 2. Back Street – Edwin Starr 3. Soul Time – Shirley Ellis 4. I Gotta Find Me Somebody – The Velvets 5. If This Is Love – The Precisions 6. Seven Day Lover – James Fountain 7. You Don’t Mean It – Towanda Barnes 8. The Night – Frankie Valli 9. I’m Com’un Home In The Morn’un – Lou Pride 10. (Just Say) You’re Wanted And Needed – Gwen Owens 11. They’ll Never Know Why – Freddy Chavez 12. Tear Stained Face – Don Varner 13. Crying Over You – Duke Browner 14. Exus Trek – Luther Ingram 15. Too Late – Larry Williams & Johnny Watson 16. Your Autumn Of Tomorrow – The Crow 17. I’m Gone – Eddie Parker 18. I Really Love You – The Tomangoes 19. This Love Starved Heart Of Mine (It’s Killing Me) – Marvin Gaye 20. Stick By Me Baby – The Salvadores 21. Time – Edwin Starr 22. Come On Train – Don Thomas 23. Lonely For You Baby – Sam Dees 24. Gone With The Wind Is My Love – Rita & The Tiaras 25. Suspicion – The Originals 26. Turning My Heartbeat Up – The MVP’s 27. Time Will Pass You By – Tobi Legend

Disk 2

1. She’ll Come Running Back – Mel Britt 2. Little Love Affair – Patrinell Staten 3. You Don’t Love Me – Epitome Of Sound 4. I Just Can’t Live My Life (Without You Babe) – Linda Jones 5. What Good Am I Without You – Darrow Fletcher 6. I Surrender – Eddie Holman 7. I Don’t Like To Lose – The Group feat Cecil Washington 8. In Love – Tony Galla 9. I Was Born To Love You – Herbert Hunter 10. I Really Love You – Jimmy Burns 11. Blowing My Mind To Pieces – Bob Relf 12. Please Stay – The Ivories 13. The Chase Is On – Johnny Howard 14. You Left Me – The Admirations 15. Ain’t Gonna Run No More – The Royal Esquires 16. Love Slave – The Antellects 17. As Long As You Love Me (I’ll Stay) – Ronnie & Robyn 18. My Lonely Feeling – Milton James 19. Can You Win – Charlene & The Soul Serenaders 20. This Won’t Change – Lester Tipton 21. Love Factory – Eloise Laws 22. Under Your Powerful Love – Joe Tex 23. It Really Hurts Me Girl – The Carstairs 24. Hung Up On Your Love – The Montclairs 25. Baby Don’t You Weep – Edward Hamilton & The Arabians 26. The Magic Touch – Melba Moore 27. If You Ever Walked Out Of My Life – Dena Barnes