Born on this day
Franz Kafkaphilosophical literatureFranz Kafka
Born on this day
Born on this day
If you appreciate the Palmetto Bug Stompers you’ll appreciate the Vipers.
Bernard Williams’ piece originally from the LRB and reprinted in Essays and Reviews: 1959-2002 along with Colin Koopman’s commentary.
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‘Lack of a historical sense is the hereditary defect of philosophers . . . So what is needed from now on is historical philosophising, and with it the virtue of modesty.’ Nietzsche wrote this in 1878, but it still very much needs to be said today. Indeed, a lot of philosophy is more blankly non-historical now than it has ever been. In the so-called analytic tradition in particular this takes the form of trying to make philosophy sound like an extension of science. Most scientists, though they may find the history of science interesting, do not think that it is of much use for their science, which they reasonably see as a progressive activity that has lost its past errors and incorporated its past discoveries into textbooks and current theory. The American philosopher who stuck on his office door the notice ‘Just say NO to the history of philosophy’ was probably riding on the idea that the same could be said of philosophy.
The fact that philosophy is often neglectful of its own history is not, however, the most important point. Many philosophers do have some respect for the history of philosophy: what matters more is their neglect of another history – the history of the concepts which philosophy is trying to understand. The starting point of philosophy is that we do not understand ourselves well enough. We do not understand ourselves well enough ethically (how or why we should be concerned, positively or negatively, with some human dispositions and practices rather than others); we do not fully understand our political ideals; and we do not understand how we come to have ideas and experiences, and seem moreover to know quite a lot about the world. Philosophy’s methods of helping us to understand ourselves involve reflecting on the concepts we use, the modes in which we think about these various things; and sometimes it proposes better ways of doing this. So much is (relatively) uncontentious.
In any area of philosophy, the concern that gets reflection going, the failure to understand ourselves, must start from where we are. Who ‘we’ are, who else is part of ‘us’, may very well be disputed, above all in ethical and political cases. But reflection must start with us in the narrowest sense – the people who are asking the question and the people to whom we are talking – and it starts from now. The concepts that give rise to the question are ours. But there is a story behind those concepts: a history of how people have come to think like this. In the case of some ideas, such as political equality or democratic legitimacy, or the virtues of sincerity and honesty, the history will be dense and distinctive of our own culture, as contrasted with the cultures of past times and also, perhaps, with those of other existing societies. So much, again, is uncontentious. The standard assumption, however, is that a philosophical inquiry does not need to bother much with that history: the distinctive business of philosophers is reflection, and reflection, roughly speaking, will see them through. The basic point of Nietzsche’s remark is that, in ethical and political cases at least, that assumption is wrong.
It is not wrong in every case. A scientific concept – ‘atom’, for instance – can certainly be said to have a history, but typically (for much the same reason that the history of science is not part of science) its history makes little contribution to what may puzzle us about that concept now. Another way of putting it might be to say that the modern idea of an atom, understood in terms of quantum mechanics, is not the same as the one that entered human understanding under (very roughly) that name in the fifth century BC, though it is recognisably a descendant of it. But this is a case where it does not matter much (for our understanding of either the concepts or the history) whether the same or a different concept is employed by different societies or cultures: it is never going to be a highly determinate matter and there are many instances, of which ‘atom’ is one, where it would be arrant scholasticism to go on about it. There are, however, some very important occasions when we need to say both that there is significant historical variation between an idea or concept as used by two different groups, and that these are in some sense variant forms of the same concept. We need to say this particularly with value concepts such as freedom and justice, where there can be significant conflicts between interpretations of the value at different times or between different groups: between freedom as a disciplined life within an independent republic, for instance, and freedom on Eighth Avenue. Trying to understand the problems that we have with the idea of freedom, we need to describe and understand these differences, and we need to say that in some sense they represent different interpretations of the same thing: simply giving different names to these conflicting values would significantly miss the point of the conflict.
In such cases, it is helpful to think in terms of a common core shared by the conflicting values, which is developed or expressed by them in different ways. It is this kind of structure, of central core and historical variation, that I try to explain in Truth and Truthfulness in the case of what I call the ‘virtues of truth’: basically, ‘accuracy’, the qualities involved in getting one’s beliefs right, and ‘sincerity’, which is involved in honestly expressing them to other people. We have various problems with such notions in our culture now. Why are we concerned with the truth? No doubt, in part, because having true beliefs is useful. But having false beliefs is also useful: from the point of view of usefulness, the value of truth, if positive, will be so only on balance. But most of us, at least some of the time, recognise a value of truth which is not just that – for instance, when we recognise that self-deceit is in itself not the best of states.
Again, our ideas of truthfulness are under a great deal of strain at present. On the one hand, we tend to be pervasively suspicious, anxious not to be fooled, eager to see through appearances to the real motives and structures that underlie them. On the other hand, there is an equally powerful suspicion about truth itself – whether there is such a thing (really), and, if there is, whether it can be other than relative or subjective or something of that sort. (Some, such as Richard Rorty, say that ‘truth’ is not really the object of our inquiries or our concerns at all: what we should aim at is rather something like solidarity.) The first of these impulses of course fuels the second: the demand for honesty and truthfulness turns against truth itself. But the impulses are certainly in conflict. If you do not believe in the existence or significance of truth, what is the passion for truthfulness a passion for? In pursuing truthfulness, what are you being true to? That second question arises, too, in relation to authenticity, itself a variant of truthfulness, and a characteristic modern ideal. If one has an idea of some way of life, or set of ambitions, or allegiance that will be true to or express one’s real self, what reality must it answer to, and how?
These questions arise from our present ideas of such qualities or ideals as honesty, truthfulness, sincerity and realism. They are appropriate to philosophy, in that they involve a recognition that we do not adequately understand ourselves. It is obvious that our ways of conceiving these qualities have not been everybody’s, and that there is a historical story to be told about the way they came to be ours. Can we understand these concepts and so face the problems that they generate for us without understanding something of that story? How is it, for example, that we have a special ideal of personal authenticity? I think that philosophy can get a real hold on its task only with the help of history; or, rather, as Nietzsche put it, philosophising in such a case must itself be historical.
Philosophy can start on the task without history. Mere reflection on the conditions and demands of communication between human beings can tell us something at the most basic level about the ‘virtues of truth’. Every society involves a division of labour in finding things out, if only to the minimal extent that some people observe things at one place or time, and others at another, and they need to inform one another. Merely reflecting on this, one can see that there need to be, in some form, qualities of accuracy and sincerity; people need to be reliable observers, and other people need to be able to trust what they say. These basic functional needs, and some of their consequences, can be laid out in a stripped-down and explicitly fictional account of an elementary society which, in the traditional phrase from political philosophy, I call the ‘State of Nature’. But the State of Nature story itself already implies that there must be a further, real and historically dense story to be told. No society could work simply on the basis that its members saw that telling the truth a lot of the time was useful. Individuals and family groups have many reasons for not telling the truth to others (the basis of Voltaire’s remark about men having language in order to conceal their thoughts). So, institutions of trust, which every society needs in some form, demand that there should be some dispositions to think that telling the truth (to the right people, on the right occasions) is in itself a good thing. What form those dispositions will take in different societies at different times is a matter of real history. In this sense, real history fills in the merely schematic picture offered by the State of Nature story. If you stop at the schematic picture, you may be left with the idea that truthfulness is a merely functional quality, and then be puzzled by the fact that it manifestly is not. Perhaps you will move to the general idea that it is a functional quality that needs to be understood as not merely functional. Philosophy without history will not get you much further than that: you will have little insight into how this might be possible, and none into the various conflicts that surround the virtue of truthfulness – is there, for instance, something specially bad about lying as distinct from other forms of misleading speech? More insight will come from seeing something of how we came to be where we are.
Moreover, real history does more than fill in the schematic story. In the dimension of accuracy, cultural developments can raise the demands of what it is to tell particular kinds of truth. The invention of writing made it unavoidable for people to distinguish among stories about the remoter past those that purported to be true (even if it was not known whether they were true), and those that were myths or legends. With that distinction, there came a new notion of historical truth and indeed a new, determinate, concept of historical time. Philosophical analysis without history encourages us to think that these concepts, so central to our thought, must always have existed, and that to the extent that members of oral cultures did not recognise the distinctions, they were in a muddle. They were not. The invention of historical time was an intellectual advance, but it did not consist in refuting error: like many other inventions, it enabled people to do things they could not conceive of doing before it happened. Together with that, we must hold on to the point that it was indeed an advance – as we naturally say, a discovery. A few modern critics, in deconstructive or relativist spirit, have tried to undo this advance, claiming that the whole idea of sequential time in history is a Western hegemonic imposition. Unsurprisingly they have failed, both to undo the advance and to make sense of their own undertaking. As the historian Richard J. Evans has pointed out, the critic who wrote that ‘historical time is a thing of the past’ needs to consider her position.
There are other dimensions in which real history has gone even further beyond the abstract structural necessities of the State of Nature story. Values of sincerity and accuracy – for example, the demand for truth for its own sake – have taken on a cultural life of their own, and have issued in such self-conscious ideals as intellectual honesty. Like personal authenticity, which emerged as an ideal towards, very roughly, the end of the 18th century, it was the product of a complex history which involved such vast contingencies as Christianity. None of this could be foreseen on the basis of the structural demands of human communication, which is what philosophy in the narrowest sense might work out, but it has formed our world and our problems, and must be taken into account by our philosophy. Without an understanding of history, the connections of some of these values with truthfulness may be overlooked altogether, and our actual concept of truthfulness will seem at best an arbitrary assemblage of ideas.
A method that combines the representation of universal requirements through the fiction of a State of Nature with an account of real historical development, I call ‘genealogy’. It is Nietzsche’s term, and an inquiry of this kind is supposed to meet some of the demands that Nietzsche associated with it. Where the genealogy of truthfulness is concerned, it was Nietzsche himself who first clearly identified the tensions in our culture which the inquiry aims to confront. However, there is another implication of ‘genealogy’ in Nietzsche’s own use of the term, as also, for the most part, in Foucault’s: that it is disobliging, uncovers shameful origins, and shows the phenomenon that is explained in this way in a bad light. This is not necessarily entailed in the method. It is so in some cases, including Nietzsche’s own prime example, which is morality in a narrow, pure and law-driven sense, but it does not have to be. There can be a ‘vindicatory’ genealogy, such as Hume gave of justice. One may not accept Hume’s account of the ‘origin’ of justice, but if one does, it need not make one feel less respect for justice: indeed, the account may make one feel more respect for it, if one comes to see it for the first time as intelligibly related to human needs and sentiments rather than as a moral or metaphysical revelation. I think one can give a vindicatory genealogy in this sense of the virtues of truth in some of the forms that concern us now.
Some philosophers deny that any historical story could vindicate (or fail to vindicate) our values. They see any such idea as an instance of the ‘genetic fallacy’: it is reasons or justifications that count, not origins. But this overlooks the possibility that the value in question may understand itself and present itself and claim authority for itself in terms which the genealogical story can undermine. The ‘morality’ that Nietzsche’s genealogy damaged claimed to be the expression of a spirit that was higher, purer and more closely associated with reason, as well as transcending negative passions such as resentment, and if Nietzsche’s account of it, in its functional and its historical aspects, were true, it would emerge as self-deceived in that respect. Similarly, when it is argued that the values of contemporary liberalism cannot possibly be criticised in terms of their history, this will be so only to the extent that those values can be separated from the claim – one which is often made for them – that they have emerged from the spread of reason and represent a cognitive achievement. There is a real question here: if liberal values represent the true moral order of the world, why should they have revealed themselves only in certain places and only in the past three centuries or so? A similar question can of course be asked about physical theories or molecular biology, but in those cases it gets an answer. Does the history of liberalism share enough with those cases for the claims which are made for it to be true? That is a question of historical interpretation. To the extent that the question gets a negative answer, there is no vindicatory genealogy of liberalism in that form. But if it is stripped of its false self-understanding, important parts of what remains may indeed have a vindicatory genealogy, in the sense that we can understand it and at the same time respect it, support it and live within it. We can also urge it against alternative creeds whose own self-understandings (as divine revelations, for instance) are themselves not going to survive a genealogical inquiry.
In Truth and Truthfulness, my own genealogical account of the virtues of truth, I systematically argue against ‘deniers’, as I call them: those who claim that the concept of truth does nothing for us in our inquiries or in our conceptions of freedom and other values, and who hold, consequently, that either truthfulness should not be one of our values, or that it has nothing to do with truth. These sceptics, who have been very influential in the humanities, have a point, or several different points, about the status of history, and of psychological and narrative understandings; and those philosophers and others who have, rightly, argued against the deniers have too often supposed that if one gets rid of their muddles about truth and language, it will be business as usual, a business that sometimes seems to be identified with a stupid positivism, a faith in the power of the unaided truth to make sense of things. Truthfulness is a vital virtue, and it is essentially connected with the truth, but it has many more demanding tasks than simply assembling truths.
Some think that what is needed to supplement abstract philosophical reflection and to show us why we have the ideas we have is not history but science. At the moment there is a clamorous strain of opinion to the effect that questions such as these can be answered by evolutionary psychology. Genealogy itself is not an application of evolutionary theory; the State of Nature is not intended to represent some early hominid environment, and evolutionary theory could not offer what genealogy claims to offer. The State of Nature sets out in a professedly abstract form certain functional demands on human communication, which can be arrived at by reflection. Nobody knows very much at present about early hominid environments, and theories about their selective effects on human cognition cannot be formed without taking these and other such functional requirements for granted. There is nothing wrong with this, and evolutionary theorists will have to go on doing it even if they come to know more than they do about early hominid development. The actual story about early communicative practices will then be another piece of the genealogy, a lot less dense and doubtless a lot more speculative than the one based on more recent developments.
Some evolutionary theorists think that subsequent cultural developments are themselves to be explained in terms of natural selection. They do not mean that cultural changes express genetic mutations: rather, that cultural change is strongly influenced by specific psychological characteristics selected for in Homo sapiens in those early environments. It is a platitude that human beings have whatever psychological peculiarities emerged during their evolution; among these peculiarities must be those that underlie the overwhelmingly significant and successful innovation represented by this species: the capacity to live under culture and so to benefit from a vast elaboration of non-genetic learning. All this is true, but there is nothing in it to indicate how far differences between cultures, or their changes over time, are themselves determined by these peculiarities. Manifestly, not all the way: plausibly, not very far. Evolutionary science may eventually show why human beings everywhere make and enjoy music, but it is not going to explain Beethoven’s op. 111. The basic point is that only interpretation of the historical (and anthropological) record could answer such questions, and show how far traits identified by evolutionary science will explain differences in culture. That interpretation cannot be done by evolutionary science itself.
Genealogy applied to the virtues of truth has reason to be critical of the ‘deniers’, but, here and more generally, it has even more reason to be opposed to the more reductive ambitions of evolutionary psychology. Deconstructionist deniers may not always read books very well, but at least they may encourage people to read books, and to understand the history from which those books came. Science that takes on reductive ambitions does not encourage anyone to understand history at all. Like the more historically impoverished styles of philosophy, and, still more, in alliance with them, it stands in the way of our understanding who we are, what our concepts are, what we are up to, since there is no way of our understanding these things without a hold on our history.
The happiness and serenity of the South disconcerted him. He had felt good in the North because everyone else felt so bad. True, there was a happiness in the North. That is to say, nearly everyone would have denied that he was unhappy. And certainly the North was victorious. It had never lost a war. But Northerners had turned morose in their victory. They were solitary and shut-off to themselves and he, the engineer, had got used to living among them. Their cities, rich and busy as they were, nevertheless looked bombed out. And his own happiness had come from being onto the unhappiness beneath their happiness. It was possible for him to be at home in the North because the North was homeless. There are many things worse than being homeless in a homeless place—in fact, this is one condition of being at home, if you are yourself homeless. For example, it is much worse to be homeless and then to go home where everyone is at home and then still be homeless. The South was at home. Therefore his homelessness was much worse in the South because he had expected to find himself at home there.
The happiness of the South was very formidable. It was analmost invincible happiness. It defied you to call it anythingelse. Everyone was in fact happy. The women were beautifuland charming. The men were healthy and successful and funny; they knew how to tell stories. They had everything the North had and more. They had a history, they had a place redolent with memories, they had good conversation, they believed in God and defended the Constitution, and they were getting rich in the bargain. They had the best of victory and defeat. Their happiness was aggressive and irresistible. He was determined to be as happy as anyone, even though his happiness before had come from Northern unhappiness. If folks down here are happy and at home, he told himself, then I shall be happy and at home too.
. . .
It was unsettling, too, coming among a people whose radars were as sensitive as his own. He had got used to good steady wistful post-Protestant Yankees (they were his meat, ex-Protestants, post-Protestants, para-Protestants, the wistful ones who wanted they knew not what; he was just the one to dance for them) and here all at once he found himself among as light-footed and as hawk-eyed and God-fearing a crew as one could imagine. Everyone went to church and was funny and clever and sensitive in the bargain. Oh, they were formidable, born winners (how did they lose?). Yet his radar was remarkable, even for the South. After standing around two or three days, as queer and nervous as a Hoosier, he quickly got the hang of it. Soon he was able to listen to funny stories and tell a few himself.
. . .
Jamie was still reading The Theory of Sets. The engineer was pondering, as usual, the mystery of the singularity of things. This was the very golf links, he had reason to believe, where his grandfather had played an exhibition round with the great Bobby Jones in 1925 or thereabouts. It was an ancient sort of links, dating from the golden age of country clubs, with sturdy rain shelters of green-stained wood and old-fashioned ball-washers on each tee and soft rolling bunkers as peaceful as an old battlefield. Deep paths were worn through the rough where caddies cut across from green to fairway. The engineer’s amnesia was now of this order: he forgot things he had seen before, but things he had heard of and not seen looked familiar. Old new things like fifty-year-old golf links where Bobby Jones played once were haunted by memory.
How bad off was he, he wondered. Which is better, to walk the streets of Memphis in one’s right mind remembering everything, what one has done yesterday and must do tomorrow—or to come to oneself in Memphis, remembering nothing?
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.
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.
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.
Remembering the Ox
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