Tag Archives: Art

Future Crimes

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By John Steppling

Source: CounterPunch

“Precrime Analytical Wing: Contains the precognitives and the machinery needed to hear and analyze their predictions of future crimes.”

Philip K. Dick, Minority Report

“I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro’s great stumbling block in his stride toward freedom is not the White Citizen’s Counciler or the Ku Klux Klanner, but the white moderate, who is more devoted to “order” than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice…”

Martin Luther King

“The intellectuals are the dominant group’s ‘deputies,’ exercising the subaltern functions of social hegemony and political government”.

Gramsci

There was a jaw dropping but not unexpected article at The Guardian this week. It was actually part of a series of pieces at that paper that have sought to manufacture a legacy for Obama, the outgoing president, since his actual legacy is one of imperialist foreign policy, CIA support of jihadists, right wing coups, and most acutely, perhaps, a massive subverting of free speech and civil liberties. What Robert Parry has called a ‘war on dissent’. The Guardian piece took the form of asking novelists, public intellectuals {sic} and TV hacks what they perceived to be Obama’s legacy — and even the use of that word, *legacy* is a loaded indicator of the direction this piece was headed. What struck me most was not the predictable support for Obama policy (more on that later) but the utter banality of the writing. There were writers in this group who I have admired (Richard Ford for one, Marilynne Robinson, as well) but the sentiments were so stupefyingly superficial, so fatuous and fawning that it was hard not to see this as a kind of mini referendum on the state of Western culture.

Joyce Carol Oates (for whom ten words is usually better than the right word) described Obama as…“Brilliant and understated, urbane, witty, compassionate, composed..”. Siri Hutsvedt (who honestly I had to look up…finding her most notable achievement was being married to Paul Auster) wrote…“For eight years, we have been represented by an elegant, well-spoken, funny, highly educated, moderate, morally upright, preternaturally calm black man”. Richard Ford wrote…“This cold morning, when I think about Obama, immersed in what must be a decidedly mixed brew of emotions – mixed about his deeds, mixed about his effects on the US, decidedly mixed about our future – I’m confident he is thinking, right to his last minute in the office, as the president, and not much about, or for, himself. That’s what I expected when I voted for him – that he’d be a responsible public servant who’d try to look out for the entire country.” I know, I know, but that’s what he wrote. Look it up if you don’t believe me. Perhaps this is what a career of University teaching does to one. Edmund White called him one of our great presidents (love the use of *our*).

Jane Smiley, who at the least mentioned TPP and drones, but ended with…“As a national leader, he has engendered more chaos, but it is necessary chaos – a loud and meaningful return to the question of what constitutes the real America.” A necessary chaos? The fuck does that mean? I ask that sincerely, sort of. By the time I reached the end of this saccharine mind numbing bathos I thought back to the 1968 Democratic Convention and to Esquire Magazine, in its golden era, who sent William Burroughs, Jean Genet, Terry Southern and John Sack to cover the convention. I thought back to Robert Bly and his organizing of Writers against the Vietnam war. The readings he gave with Galway Kinnell and Ginsburg, and a dozen others. And to the way Bly spoke of art and the role of art in a society. In an interview with Michael Ventura, around the time of the Iraq invasion…

Bly:I don’t think we believe that a Great Mother is lying to us. It’s a father who’s lying to us. Thee whole system, in a way, is a father system.
Ventura: It’s a patriarchy, so it’s a father who’s lying.
Bly: Exactly. And we eventually get the sense that our own
father is lying to us. { } Whenever you have a culture completely run by gross
capitalism, all of the gods are driven away. Well, then what?
What does that mean when those gods are not present?

Later Bly says…

“When I talk about the world being mad, I tell people,
“You won’t believe how bad television is going to be in ten years.
You’re going to literally have to protect your children from it.”
And we’re not going to be able to change that. The only thing
we can do is recognize that it’s mad, and reach inside ourselves
and bring out our own genuine madness in the form of art,
and then teach our children to do the same.”

In 68, a corporate owned magazine, and hardly a socialist magazine, thought it reasonable to ask Genet or Burroughs to discuss a political convention. I mean even Norman Mailer wrote intelligently on Kennedy for Esquire, and Mailer isn’t exactly Gramsci. My point is, or I hope my first point, is that it is not always crucial to demand ideological analysis. For art’s radical nature is outside ideology. Just speaking from a radical perspective, an anti bourgeois perspective, can be enough. But in 1968 the U.S. still had artists. What artist could you invite today? What public intellectual? The Guardian picked Sarah Churchwell (who again, I’d never heard of) who wrote…

“The Obamas changed the rules for what it means to inhabit the White House, and not only because they were the first black family to do so. They were also the first modern family to do so, to be informal yet classy, upright yet kind, and, most important, themselves.”

That’s it then, just be yourself. But the lesson here, if there is one, is that the radical tradition in American life has been rendered invisible. Just as the history of labor and unions and strikes has been erased. There are plenty of great artists out there, actually. Tons of intellectuals, but they aren’t invited by corporate media. Was anyone from Black Agenda Report asked to comment? Or from, well, CounterPunch? Was Harry Belefonte asked? The manufacturing of an image of a culture, rather than an actual culture, is what organs of disinformation such as The Guardian are in the business of doing. And this is also what Hollywood does, of course. Look at the stuff that gets on in the flagship theatres of the U.S. What is the season at Lincoln Center? Does it matter? No, it really doesn’t. And running across all of this discussion is the question of class. In fact, that may be the most important aspect in all of this. The working class voice is erased. In total. And this is hugely significant. Even fifty years ago the stages of American theatres were filled by work from playwrights who did not have MFAs. Novels were written by criminals and outsiders. This is no less true, really, in the U.K. From Brendan Behan to Martin Amis is the road travelled. Now of course one can site exceptions to this, I think anyway. There are always celebrity outsiders, branded renegades. Usually this takes the form of a confessional. My time on oxycodone while writing Sit Coms. I was a teenage prostitute and was addicted to anti depressants, but then I found a higher power. But god forbid you express condemnation of the bourgeoisie. For that is the greatest of all crimes.

When I worked in Hollywood, I felt the class estrangement acutely. But I did get work and had some modest success. And I remember when a major cable producer of the era asked me, during a pitch meeting, for the names of writers I thought would be good to employ for an anthology series they wanted to put together. I said, well, Iceberg Slim (Robert Beck) and John Rechy. A silence fell on the room. I was very very naive. Hollywood today seems infested with lawyers, former political interns, and business school graduates. Most from Ivy league schools. And the world that is manufactured is one that reflects their class. And the effect this has had is to alienate the younger artists who do not come from affluent backgrounds. It has also normalized the a vision of the world that belongs to perhaps ten per cent of the population. The rest are strangers in their own land. Strangers to the official sanctioned culture. And in that sense, Hollywood has sort of merged with Madison Avenue.

The class divide is being starkly revealed this last few months. And it has also served to put in stark relief the real impetus of U.S. foreign policy (and to domestic policy, too, only not as drastically). After WW2 and the formation of the CIA, the shaping of a political intention was being finalized. This came from George Kennan and the Dulles Brothers. And Henry Kissinger was the premier exemplar of this thinking. Kissinger, who supported the Shah and his death squads in Iran, and chaired the Presidential Commission on Central America in the 1980s,(employing Ollie North) and which unleashed an unimaginable terror on that region, and who orchestrated the Pinochet coup in Chile to protect ITT and, as a side bar, to teach a lesson to any government not readily obedient. This has been the seamless and never changing foreign policy of the U.S. for seventy some years. Punish the disobedient (meaning anything smacking of socialism or any nation even the tiniest bit resistant to Western business) and to continue toward global hegemony, and at the same time perpetuating conflicts which make both defense contractors and giant service providers such as Halliburton a lot of money.

The U.S. has cultivated compliant nations (Australia, the U.K. most notably) to enforce its policy (think East Timor, Iraq and Libya et al) and now owns a complient organization with international standing: NATO. And NATO serves as a legitimizing international (sic) institution of pacification.

John Pilger writes…

“The other day, an Indonesian friend took me to his primary school where, in October 1965, his teacher was beaten to death, suspected of being a communist.
The murder was typical of the slaughter of more than a million people: teachers, students, civil servants, peasants. Described by the CIA as “one of the worst mass murders of the 20th century”, it brought to power the dictator Suharto, the west’s man. Within a year of the bloodbath, Indonesia’s economy was redesigned in America, giving western capital access to vast mineral wealth, markets and cheap labour. “

Stephan Gowans writes…

“The United States had waged a long war against Syria from the very moment the country’s fiercely independent Arab nationalist movement came to power in 1963. Assad and his father Hafez al-Assad were committed to that movement. Washington sought to purge Arab nationalist influence from the Syrian state and the Arab world more broadly. It was a threat to Washington’s agenda of establishing global primacy and promoting business-friendly investment climates for US banks, investors and corporations throughout the world.”

The rise of the neo cons, which rather officially began with Project for a New American Century (just prior to Bush Jr’s presidency) was really just an extension of that original plan for global domination. At that time this was articulated by a seething nearly hysterical hatred of the Soviet Union. And the structural aspect of this remains in place with today’s rabid and massive propaganda campaign directed at Putin. And indeed even on the left one hears the echoes of a Russophobic sensibility. It is as if these faux leftists can not allow a critique of U.S. imperialism (in Syria for example) without off handedly smearing Russia, too. One need only look at who is surrounding whom with military bases. And the same holds true, with slightly less hysteria, for China.

In 2012 Ed Herman, speaking in a radio interview, said

“…humanitarian intervention {has} been used strictly for the interests of the United States and other Western powers and Israel. Strictly. So there’s no intervention in Saudi Arabia or Israel or Yemen or Bahrain. There was none in Egypt…And there was Egypt, here you had a miserable dictator for decades, and then you had an uprising where a lot of people were being beaten and killed in the streets, and you never had Mrs. Clinton ever asking for any application of humanitarian intervention. Not once. Never. They’re getting away with the most unbelievable double standard imaginable.”

This is, none of it, new. And yet, despite the obvious record of Obama in furthering exactly this world vision, the liberal organs of *real* news continue to paint their revisionist narratives of American heroism and goodness. And it is breathtaking in a way to read this new class of quisling artist, the court eunuchs for the Democratic Party establishment. And Obama’s apparent anger and petulance belies, certainly, descriptions such as ‘preternaturally calm’, and ‘dignified’. But there is a thread of liberal guilt running through this as well. Obama’s race (and his perfect wife and kids — and one longs for Ron Reagan Jr or to go back to James Madison’s son John, and shit, even the Bush girls might be a relief from these Stepford children.) is the psychological glue for a visibly excessive adoration. And this is a white liberal class that is haunted, I suspect, in their heart of hearts, by the knowledge of their own privilege and that that privilege has resulted in oceans of blood, and the knowledge, if they were ever to question themselves, that they would sell out anyone to retain that privilege. They love Obama and Obama is black, therefore…etc.

As Ajamu Baraka noted

“In the face of the Neo-McCarthyism represented by this legislation and the many other repressive moves of the Obama administration to curtail speech and control information — from the increased surveillance of the public to the use of the espionage act to prosecute journalists and whistleblowers — one would reasonably assume that forces on the left would vigorously oppose the normalization of authoritarianism, especially in this period of heightened concerns about neo-fascism.
Unfortunately, the petit-bourgeois “latte left” along with their liberal allies have been in full collaboration with the state for the past eight years, with the predictable result that no such alarm was issued, nor has any critique or even debate been forthcoming.”

The openly Imperialist U.S. state has tortured, illegally kidnapped, and simply murdered both leaders of sovereign states as well as countless innocent victims. That Samantha Power’s motorcade in rushing through a village in Cameroon happened to run over a ten year old boy, and didn’t stop — this barely made the evening news at all (but hey, they did send the family fifteen hundred dollars by way of an apology). They have acted covertly to destabilize governments and have manufactured enemies at a rate that is staggering to contemplate. Obama’s tight relationship with the most odious autocratic and murderous country on earth, Saudi Arabia, speaks to the cynicism of the political elite.

And yet, the artistic communities by and large continue to focus on identity issues (once they have attended to their career moves and spoken with their agents), most of which affect their own class. The dire suffering of the poor makes good voyeuristic source material, but the segregation of classes is enforced zealously. Token exceptions are simply that.

How is it possible to become so alarmed by Trump, while supporting Democrats? Those millions on the street protesting the looming invasion of Iraq must have noticed that every single Democrat in government voted FOR the invasion (save for the honorable Barbara Lee). And yet here they all are wringing their hands in dismay that Hillary lost. Here they are constantly repeating the litanies of Trump evil and never noticing the crimes of earlier democratic presidents and administrations. So, yes Trump’s appointments are awful. But I refuse to even dig into that until a discussion of Obama’s appointments are dissected. First came Rahm Emanuel, former memeber of the IDF, all around thug and bully and lover of never ending war to help expand Israeli power. Penny Pritzker, heiress and elitist and friend to the 1%, or Robert Rubin or Tim Geithner (!!!) or Tom Daschle, the senator from Citibank. I’m just scratching the surface. Joe Biden and Hillary Clinton. The point is that I am coming to feel that almost any focus on Trump feels misplaced. Certainly now it does since he isn’t even president yet. The deconstruction of liberal Obama is far from complete and the propaganda apparatus is working overtime to rewrite not just recent history, but the present. And the anti Russian propaganda is so absurd, so transparent, that this feels far more important than the predictable stupidity of Trump. I mean Obama is massing troops near the Russian border. Obama is ramping up the building of purpose built navel bases near China. Obama is still looking to prosecute Chelsea Manning and every other whistleblower. And he is still signing draconian legislation to curb free speech and institutionalize legitimacy for the new McCarthyism. Talking about Trump is a form of forgetting. I can’t do it. And if there is an easier target for parody or even non parodic narrative than Donald Trump, I havent met them. And easy is never an act of rigorous self examination.

Thomas Bates writes, discussing Gramsci…

“Gramsci retained a skepticism towards these alienated fils de bourgeois, a
skepticism which was not, however, mere prejudice, but was an historical
judgment informed by the experience of the Italian labor movement. How was
one to explain the passing of entire groups of left-wing intellectuals into the
enemy camp? More precisely, how was one to explain the phenomena of socialists
entering into bourgeois governments and of revolutionary syndicalists
entering into the nationalist and then the Fascist movement? Gramsci viewed
these puzzling events as the continuation on a mass scale of the ‘trasformismo’
of the nineteenth century. The “generation gap” within the ruling class had resulted
in a large influx of bourgeois youth into the popular movements, especially
during the turbulent decade of the 1890’s. But in the war-induced crisis
of the Italian State in the early twentieth century, these prodigal children
returned to the fold…”

And Gramsci adds..

“The bourgeoisie fails to educate its youth (struggle of generations). The youth
allow themselves to be culturally attracted by the workers, and right away
they … try to take control of them (in their “unconscious” desire to impose
the hegemony of their own class on the people), but during historical crises
they return to the fold.”

White affluent self identifying liberals believe they are the decision makers. That is their destiny. They believe that. One must build a new culture. Not endlessly ratify a decrepit and atrophying one. One must stop perceiving *liberals* as being on the side of change. For they are not. Guy Debord began his situationist masterpiece (1967) by quoting Feuerbach, Preface to the second edition of The Essence of Christianity:

“But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence… illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness. “

 

John Steppling is an original founding member of the Padua Hills Playwrights Festival, a two-time NEA recipient, Rockefeller Fellow in theatre, and PEN-West winner for playwriting. Plays produced in LA, NYC, SF, Louisville, and at universities across the US, as well in Warsaw, Lodz, Paris, London and Krakow. Taught screenwriting and curated the cinematheque for five years at the Polish National Film School in Lodz, Poland. A collection of plays, Sea of Cortez & Other Plays was published in 1999, and his book on aesthetics, Aesthetic Resistance and Dis-Interest was published this year by Mimesis International.

The Entire Status Quo Is a Fraud

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By Charles Hugh Smith

Source: Of Two Minds

Fraud as a way of life caters an extravagant banquet of consequences.

This can’t be said politely: the entire status quo in America is a fraud.

The financial system is a fraud.

The political system is a fraud.

National Defense is a fraud.

The healthcare system is a fraud.

Higher education is a fraud.

The mainstream corporate media is a fraud.

Culture–from high to pop–is a fraud.

Need I go on?

We have come to accept fraud as standard operating practice in America, to the detriment of everything that was once worthy. why is this so?

One reason, which I outline in my book A Radically Beneficial World: Automation, Technology and Creating Jobs for All, is that centralized hierarchies select for fraud and incompetence. Now that virtually every system in America is centralized or regulated by centralized hierarchies, every system in America is fraudulent and incompetent.

Nassim Taleb explains this further in his recent article How To Legally Own Another Person (via Lew G.)

The three ingredients of fraud are abundant: pressure (to get an A, to please your boss, to make your sales numbers, etc.), rationalization (everybody’s doing it) and opportunity.

Taleb explains why failure and fraud become the status quo: admitting error and changing course are risky, and everyone who accepts the servitude of working in a centralized hierarchy–by definition, obedience to authority is the #1 requirement– is averse to risk.

As as I explain in my book, these systems select for risk aversion and the appearance of obedience to rules and authority while maximizing personal gain: in other words, fraud as a daily way of life.

Truth is a dangerous poison in centralized hierarchies: anyone caught telling the truth risks a tenner in bureaucratic Siberia. (In the Soviet Gulag ,a tenner meant a ten-year sentence to a labor camp in Siberia.)

And so the truth is buried, sent to a backwater for further study, obfuscated by jargon, imprisoned by a Top Secret stamp, or simply taken out and executed.Everyone in the system maximizes his/her personal gain by going along with the current trajectory, even if that trajectory is taking the nation off the cliff.

Consider the F-35 Joint Strike Fighter, a $1+ trillion failure. The aircraft is underpowered, under-armed, insanely overpriced, insanely over-budget and still riddled with bugs after seven years of fixes, making it an unaffordable maintenance nightmare that puts our servicepeople and nation at risk.

But no one in a position of power will speak the truth about the F-35, because it is no longer a weapons system–it’s a jobs program. Defense contractors are careful to spread the work of assembling parts of the F-35 to 40+ states, so 80+ senators will support the program, no matter how much a failure it is as a weapons system, or how costly the failure is becoming.

A rational person in charge would immediately cancel it and start from scratch, with a program run outside the Pentagon and outside congressional meddling.But this is impossible in America: instead, we build failed, under-armored, under-powered, under-armed and unreliable ships (LCS) and failed under-powered, under-armed and unreliable fighters as the most expensive make-work programs in history.

As for our failed healthcare system, one anecdote will do. (You undoubtedly have dozens from your own experience.) A friend from Uruguay with a high-tech job in the U.S. recently flew home to Montevideo for a medical exam because 1) the cost of the flight was cheaper than the cost of the care in the U.S. and 2) she was seen the next day in Montevideo while it would have taken two months to get the same care in the U.S.

I’ve listed dozens of examples here over the years: $120,000 for a couple days in a hospital, no procedures performed; $20,000+ for a single emergency room visit, no procedures performed; several thousand dollars charged to Medicare for a few minutes in an “observation room” that was occupied by patients, no staff present–the list is endless.

We’ve habituated to fraud as a way of life because every system is fraudulent.Consider the costly scam known as higher education. The two essentials higher education should teach are: 1) how to learn anything you need to learn or want to learn on your own, and 2) how to think, behave, plan and function entrepreneurially (i.e. as an autonomous problem-solver and lifelong learner who cooperates and collaborates productively with others) as a way of life.

That higher education fails to do so is self-evident. We could create a highly effective system of higher education that costs 10% of the current corrupt system. I’ve described such a system (in essence, a directed apprenticeship as opposed to sitting in a chair for four years) in The Nearly Free University and the Emerging Economy: The Revolution in Higher Education.

As for what passes as culture in the U.S.: the majority of what’s being sold as culture, both high and low, is derivative and forgettable. We suffer the dual frauds of absurd refinement (so only the elites can “appreciate” the art, music, food, wine, etc.) and base coarsening: instead of Tender (romantic love and sex) we have Tinder (flammable trash).

Fraud as a way of life caters an extravagant banquet of consequences. While everyone maximizes their personal gain in whatever system of skim, scam and fraud they inhabit, the nation rots from within. We’ve lost our way, and lost the ability to tell the truth, face problems directly, abandon what has failed and what is unaffordable, and accept personal risk as the essential element of successful adaptation.

Here’s a good place to start: require every politician to wear the logos of their top 10 contributors–just like NASCAR drivers and vehicles display the logos of their sponsors. The California Initiative to make this a reality is seeking signatures of registered California voters. Since politicians are owned, let’s make the ownership transparent.

The Eye of the Beholder: There is Never Anything New

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A review of John Steppling’s new book, Aesthetic Resistance and Dis-Interest

By Paul Haeder

Source: Dissident Voice

it is through mimesis, (identification with the mirror image) that one gains a sense of unity, self-containment and mastery over the body. If that was all that there was to it, humanity would be condemned to dwell forever entombed in the hell of mirrors. However, the identification with an Other in the mirror opens out the possibility for symbolic thought.

— John Desmond, author, thinker, who is interested in the history of marketing; construction of knowledge in marketing; consuming culture; morality and marketing; advertising and public policy

The beauty of ideas and words and sculpting frames and philosophical groundings is that we in Western culture having nothing more challenging than the numbness of a consumer-wrecked world where crass hucksterism and financial voodoo wizardry – even with its nuclear tipped propaganda, surveillance and missile dragnet technological orgasm science serves up – pales in comparison to any tried and tested narrative grammar of idea wizards.

Yet, dealing with words now, we see, as one noted playwright and thinker attests, involves PR packaged thinking, possibly a flagrant fascism tied to what can be written (thought) and what cannot be (said).

The title to his book says it all, sometimes – Aesthetic Resistance and Dis-Interest – That Which Will Not Allow Itself to be Said. This is just out in 2016, by playwright, raconteur and philosopher, John Steppling, from the organization, Mimesis International. The book is a compilation of some of his blog postings, and not to denigrate the word “blog” to mean anyone and their uncle expressing anything out there on the world wide web.

Like stepping stones into Steppling’s mind, each essay is a revving reverberating call to mental action, as each essay follows the Introduction with more nitrous oxide pumped into each cylinder of the 12 cylinder motor of his mind: one, Narrative & Empathy; two, Magical Thinking; three, Pedagogy; four, Nothing is Art; five, The Impossible Playwright; six, Someone to Watch Over Me; seven, The Political Uncanny; eight, That Which Will Not Allow Itself to be Said; nine, The Hidden Narrative.

Here, Steppling drills down into the cortex of the American – European, white, patriarchal, Puritan and Elitist – brain, sort of the flash mob mentality we are downloading determinedly. He plugs holes in the tinny junk thinking and pseudo intellectualism hovering around academia, the So Called Liberal Media, the Corporate boardrooms, the waiting rooms at TED Talks 3.0, and the ER’s resuscitating the pop culture that doubles in the minds of the masters of consumption as true art (sic). It’s a violent country, the art is anti-art, and the world of the Imperialist, right-wing or leftie, is predicated on a Heart of Darkness destruction that Steppling decants into the incantation:

The unfinished and fragmentary now emerge as comments all by themselves. When the worst aggressions in society today are often those paraded as benign, or self branded as innocent, even curative, the default response must be one of disconnection. The age of marketing, fueled by Imperialist Capital, has obliterated ideas of belief. Ideas of evidence and trust in our own feelings are all the time under duress and coercion. Aesthetic coercion is the staple of a system of image and narrative control the erases the individual while unrelentingly trumpeting his triumph.

Mimesis conceptually and psychoanalytically is something Theodore Adorno, Robert Hullor-Kentor and Fabo Akcelrud Durao study as they break into the mind of the human condition under the duress of capitalism-hucksterism-market competition-cultural posturing in order to understand how we as thinkers and believers re-narrate when we read a novel or watch a film, as well as engage with poetry and theater. Steppling is looking at this sirocco of thought tied to art, and it’s only that, art, if it changes us somehow. Art can mean buildings, parks, ways entire city blocks and towns are laid out and made to be something more than a mess against nature or utilitarian. Or practical in the Puritanical way. Looking at the Palaeolithic rock paintings around the world, Steppling posits that these sophisticated and voluminous paintings are “exclusively mimetic participation in a magical object .. and that Neolithic artifacts represent a significant change of consciousness, and of the human relationship to the group.”

This short book delves into the heart of what it is to be human, what Pierre Janet (L’Evolution de la Memoire) says how we become the very beingness of “I” – Narration created humanity. This book is just a small sluice into the larger wetlands that spread across the more rarefied postulations of Steppling’s thoughts and comments, here, at this blog: John Steppling – The Practice of Writing – Theatre Film Culture).

Ironically, his most recent post talks about his youth, when he was born in 1951, Laguna Beach, where his mother worked at Woolsworth and father acted in community theater. Steppling looks at Charles Olson and his work in the Yucatan, the same year, 65 years ago, and in that looking back, Steppling unfragments the fragments of memory, youth, childhood, origin, which all boils down to a Western culture seeded with capitalism that is moved by destruction and the boom in the bust:

When Olson dug into the dirt of the Yucatan hills, my parents had moved to Laguna Beach. My mother worked at Woolworths as a counter girl. My father acted in the community theatre there. It was a sleepy beautiful barely touched village, really. It lay off the old Highway — the old PCH. In those years nobody thought about the destruction of entire pine forest in the San Bernadino mountains. Olson didn’t dream of tourist high rises, resorts for white people, all across the Yucatan peninsula.

A half century has been spent in the West destroying things, and destroying people, and destroying beauty. A post apocalyptic treeless suburb, that is the inner circle of hell. Having to live next to affluent white men who bitch about Jews, and then look to play a round of golf at one of the thousands of courses in drought ravaged California. While in far off corners of the globe U.S. made bombs explode and kill and maim. These same guys, over drinks, might discuss topics like ‘reverse racism’. Fifty solid years of this. — John Steppling’s blog

Imagine in this crass, Hollywood-drenched, Chosen Few World of high financial and structural violence and rape and rapine, resource wars, total cultural and physical annihilation of the tribes, and we have Steppling surfing these monster 100-foot waves seeking what it means to be in the present reading the footprints of the past, histories written and rewritten, and into the eye of the poet, which is the vortex of our cultural wars: “The sedimentation of terror into language, specifically into the naming of things, is that magical element in spoken text that differentiates it from reading to oneself silently. Both can be mimetic, but the range of the frightening is greater when it happens on stage.”

Steppling dis-interns the graveyards of humanity and philosophy in a process of eliminating vis-a-vis this modern, scientific and technocratic metallic world the magic, the thoughtful, the greater good of humanity to express, as poets and as the players, actors, in this life theater. He ties this into those who have fought to erase memory, to dominate:

The domination of nature coincided with the neutralizing of Language. Shorn of terror, the cry became the concept, Dionysian energy was expelled, superstition replaced by logic. This was the force of Enlightenment thinking, and the correctives were real, but less observed, the cleansing of that which allowed for the tragic to reveal itself. The tragic as a sensibility; and without that sensibility, the infinite domination, unchecked rational horror grow on the underside of the image and word.

He’s looking at class in most of his work, and Steppling discovers that corporate interests have eliminated the outsider, helped to cull the very idea of class and what the artist’s role is in “the great Spectacle today.” We see threaded like glacial melt Steppling’s look at how we in this punishment society put down the poor, forcing the poor into some crazy reformulaton in our theater or film.

Housebreak them. Make them heel. Make them sentimental. This is the paternalism of ‘encouragement.’ I’ve always felt insulted when anyone wanted to encourage me. Encouragement is the sadism of the ownership class, the good plantation owner, those who enjoy the power that comes from encouragement. I’ve said before, grants and the writing of applications for grants is a form of psychological servitude.

Art, politics, education, and creativity, the word, the intersection of a neoliberalism, a fake Left, all those ideas come into the mental landscape of Steppling, who is a studied playwright, living in a world of intellectual conceptualizations, and he sees the bright line of mimesis as how Adorno formulated it – “as a way out from under the crushing conformity and standardization of mass culture, to trace authentic artworks and to trace the path of their occurrence,” John writes.

I’ve been experiencing first-hand this deadening of culture, ideas, words, poetry, in the education systems I have taught in, and the echo of William Burroughs who called school “the Job” is a place where Steppling and I and so many others see as penal colonies where “the spontaneous fantasies of children are literally beaten out of them . . . the business of extinguishing that fantasy and creativity.”

Mimesis is a form of expression, not a Xerox copier in the head. – John Steppling

This book is a slice on the microscope slide looking at the DNA of modern American psychosis – and the truth is in the antithesis of human and narrative truth, Steppling has discovered in his six decades on the planet:

The only truth now is bureaucratic, administrative, or data based. The fixedness of both ideas and beliefs in those ideas, has disappeared from the contemporary life. One feels that people, in general, deal with quantifications, with administrative rules and regulations. The age of regulations. They do not explore the nature of meaning.

I can digress here, which is one of Steppling’s favorite pastimes writing — entering and exiting the rabbit hole. Punishment, retribution, class war, patriarchal bullshit. Check this out — state of ever-Blue Politics of Washington State:

Division of child support services killing the parent (mostly men) big time if some part of child support has not been paid:

a warning — driver’s license will be suspended; no commercial driver’s license shall be gotten; all Fish and Wildlife licenses issued suspended (can’t fish, hunt, or trap); can’t gather seaweed or shellfish; you won’t be able to maintain insurance coverage; doing business in the state of WA will be affected; your ability to practice your licensed profession, occupation, or trade in WA will be suspended; you shall be held in contempt of court by the state of WA.

In so many ways, Steppling speaks to my own struggle with education and social work and social justice in this state or anywhere. Imagine, you fuck up and don’t pay child support, so, the state goes after you with vengeance. Ahh, then you end up in Haeder’s casebook, homeless, strung out, lost, abandoned. It does happen, these laws and punishments, this retributive society, one that is spittle from Hollywood and the leadership (sic) class that is bent on eviscerating the poor. Steppling says there are no writers, poets, musicians, artists, philosophers really chipping away at the pedantic or the narrow self-important angles to get a real narrative of what sort of fascism that is here now and has been here for decades. Again, time and time again, I talk to these Democrats, these people voting for same sex marriage, same sex adoption, goofy ideas about girls and women in war, all the shitty PC and broken diversity crap, and, alas, we are in a time of collective abandonment, a psyche that is cleaved by trauma, because really very few care to know the cause of so much class hate, class pain.

The bedrock of this lack of thinking and struggle to see meaning as the universal pathway to thought is a society transforming nature and the inclination of the human to work within self outward, working to be original and the same at the time, but now we are a culture denuded of agency, split into identities created by marketing and advertising, and transfixed into a “giant apparatus of policing.” The checks and balances are those so-called culture purveyors, those gesticulating freaks that are unwilling to see a life, live a life, outside of Capital Imperialism, Neoliberalism, Fascism of Privatization.

Steppling doesn’t delve deeply in some of the neo-tribalist thinkers in any of his work; I’ve always been able to make that leap by thinking about the ideas of tribalism cocooned in the philosopher Daniel Quinn’s brain, who calls this a period of remembering, dislodging the great forgetting around what it is to be human outside the narrow constraints of 12,000 or 8,000 years of totalitarian agriculture. John does see tribes of the past living in relatively stable settings. The elimination of so many tribes around the world in the name of capital, manifest destiny, whiteness, is a testament to Western societies slurping up the coin of the realm at a price: “ . . . contemporary societies of the West have perfected a kind of industrial level violence and irrational lust for conquest, and a fetid clenched jaw blindness that has no rival in history. It is the culmination of something that went very wrong.”

Steppling looks at theater, architecture, post-modernism, Freudian and Jungian psychology, the art scene, fine art, photography, Hollywood, propaganda, education, all the lower forms of capitalism, all those devolving collective dendrites of a culture preened by cultural gatekeepers and the models of each generation’s tragically hip pseudo thinkers, all those posing intellectuals.

The crucible of Steppling’s galvanizing thinking is tied to what is authentic artwork, what is the concrete thing that is the spontaneous creative gravity pulling forth this flash-point of the highly creative, which is at the same instance a series of contradictions that make the process magic and concrete.

Edward Said calls this the undefined time and place. Steppling adds, “These are the contours of the imagination. We hear, we invent, we are deaf – but all of it is engaged with, and absorbed.”

In the larger frame of Steppling’s looming and far-ranging essays on/at/in his blog, we are taken into a minefield of the depraved minds of those cultural and propaganda spinners who have not only co-opted liberalism and urbanity . . . but what it means to be a writer, someone telling stories versus someone marketing stories, spinning and PR-lobbing things that are not accurate. This world Steppling covers extensively in his writing, calling to task the posings/posturing and the denaturing of figurative art into something set in a ghost-land of misled identities, narratives and characters.

We get to the data driven shit world of today, all the bureaucracies, this punishment culture, this one driven by a war machine run by USA, Israel, the G-7, the wicked stinger of the scorpion called capitalism. There is a critique of the whiteness of this imperialism, depraved and puritan all in one heave, and there is gentrification of the land and culture and arts, as well as this art-loving haute bourgeoisie class that has denuded meaning and hard work from education, learning, and thinking. This is the class warfare that provides the fodder for ever more Draconian and pervasive punishment and retribution and financial recriminations.

A world people by bearded Duck Dynasty creeps and nerds stuck in Ikea-furnished prisons. It all comes down to lacking curiosity and dependence on technocratic dogma. Titrating back into this deadening tool of marketing and generic history and measured thinking. Steppling calls for open schools which “must offend, must drive some off, must never be bland or generic. Better to be wrong.”

Paulo Freire’s pedagogy, “teaching people to see and hear is the first thing. And then to stimulate the mimetic in relation to all of it. To relearn narrative and story. That is the beginning.”

What Freire posits – He who thinks and does not learn is in great danger.

The vocabulary of our times is not up to snuff in Steppling’s view. It’s torn from our collective memory, reshaped as a kind of amnesia, what Russell Jacoby calls “… the general loss of memory is not to be explained solely psychological . . . . Rather it is social amnesia – memory driven out of mind by the social and economic dynamics of this society.” In the critical mass of the mind in this human condition is what we might like to consider true artwork, a type of “force of negativing the madness of society, the waste and abuse, and this is the negative dialectic; negate the negation, for that is the reality today.”

Daily I toil teaching people around me – younger – to live with resistance and refusal as the underpinning of any life in this hijacked capitalism, the drone warfare of consumerism bombarding us every nano second. Steppling is a friend of Henry Giroux, and in this short book pulls from one of his books, The Violence of Organized Forgetting (2014):

Students are now taught to ignore human suffering and to focus mainly on their own self-interests and by doing so they are being educated to exist in a political and moral vacuum. Education under neoliberalism is a form of radical depoliticization, one that kills the radical imagination and the hope for a world that is more just, equal, and democratic.

This insight Steppling brings to art, unraveling the fabric of mass media, his microscope on those attempts at art in TV, and his dog-earing philosophy-psychology-the dark arts of culture. For him, there is a real sense of lamentation in America, longing for some imagined or pre-invented past where there was “order” or some sense of commonly held beliefs.

We are in a time of conformity, Steppling poses, even in our supposed non-conforming perception, and in that broken covenant this society has a  “narcissistic desire . . . self aggrandizement . . . splitting and projection of our bad selves onto the Other.”

He ventures back to how much we have changed in America, how culture is tied to an infantile psyche, “ever afraid of being found out in its incompleteness, in turn cannot afford to gaze too long at certain things.”

I see it everyday, working in Chinatown, Portland, serving as a case manager for homeless, recovering addicts, early release prisoners, veterans, families. This gaze, this head down society looking at those flip after flip pages of self-loathing and self-aggrandizement, well, it is madness to see the broken people living on pavement, actually in the doorways of fancy restaurants and hip shoe stores. Raging lunacy, pickled brains, entire families and their dogs out there, in the oh so hip Portlandia represents what Steppling pinpoints in his work.

I stop and talk to those really down and out, on my way to my office where I serve people who have at least gotten teeth yanked, bellies checked, and are in temporary housing and tied to the recovery model of Narcotics Anonymous, Heroin Anonymous, Alcoholics Anonymous, you name it, all those sponsors and other case managers. These people on the streets have their stories too, amazing ones, torn from the psychological hell that people create for their children, spouses, friends, lovers.

“The purpose of Western capitalist society is to erase ALL stories and replace them with commercials, or, in other words, with anti-stories,” he writes. This is the crux of what Steppling uncovers throughout his musings and philosophical ministerial show. Until the story we have in 21st America is one where the working stiffs, including social workers and teachers like me, imagine we may be moving up some ladder, to be the kings and queens of our castles, to have those two week trips to Machu Pichu, or wherever, any fantasy that has been peddled in the crap we consume — TV, drama, movies, news, magazines, the WWW, education.

I find it more and more difficult to find empathy coming from these people, and even supposedly successful folk with jobs and mortgages and some flimsy undergraduate degrees can spew some of the most hateful fascist craps — “Way too many people on earth. Seven-point-one billion, so someone has to go. I have no problem putting the needle in the arm of some loser druggies shooting or snorting up. They should be the first to go.”

This propaganda consumed by these suburbanites, calling for eugenics and mass slaughter against those we love to stigmatize. You know, people who were once loved or held as babies, now on the streets, struggling, lunatics panhandling, voices in their heads, forever driven to show us how close we are to disaster. Ourselves.

Steppling cites Arno Gruen, how hatred is fueled to destroy empathy. “Sometimes we blame the victims. They make us feel very uncomfortable; we are ashamed of our empathy because we hate the victim ourselves.” (The Betrayal of the Self, 2007)

This is what Steppling unseals in this hermetically coffined society where the stories of struggle — real struggle, the hardscrabble struggle of barely knowing who we are, let alone the struggle of the streets, this school to prison pipeline and cradle to grave social system that has been set up by Capitalism  — are never written about with depth and empathy and understanding, and the victims grow, and nothing Hollywood or literary-wood or drama-wood produces even is close to the reality of struggle, near death, Dickensian and Kafka-esque, all of the stories that need to be told, never get told.

Just cut-outs, the reality of people who do not exist in the minds of the controllers, those gate-keepers, those plied with money artists and editors and MFA instructors and super-star Oprah Book of the Month folk.

His look at the death of agency and the death of independent thought, the killing of questioning minds and the suffocation of the soul speak loudly in this book and on/in/at his blog.

Just today . . . . Thinking about Steppling’s look at this failure of the punishment state, the war on drugs, the war on people, I ran into story after story on my caseload — people the triple victim of a penality-corrupt legal-penal system. Older women, now clean and sober, in stable housing my organization provides, with some hands up, and yet, story after story of obscene legal bills being busted for possession, spending 75 days in the clinker and coming out with $3000 bills for the court costs and the fees and such, and, then, two years later, after homelessness, after living on the streets, dumpster diving, scrapping, anything but dealing with letter and summons and warrnats, bam, the $3000 is now $5000, and then the driver’s license is suspended, another $1500 owed there for penalities.

Imagine, trying to get these people minimum wage jobs, and then all these fees and retributions and pounds of flesh held against them, in the tens of thousands per person. Former homeless people, who were not worrying about US Postal deliveries or summons or the long arm of the law creating debtors’ fees, prison, etc. These are not the stories of the elite, the vaunted value-added ones educated at Harvard or UCLA. The stories of my people are on the police blotters or are ripped to shreds by the middle class Speilbergs or anyone with hearts of stone and brains channeled for the One Percent, to tell stories that are both lies and false memories.

Imagine this entire gambit broken down as a way to push more propaganda and the dark arts of vilifying and blaming the victim.

Foreclosure after couch surfing after stolen children after endless payments to the ferryman and the financial philanderers.

This is the way Steppling points his readers to, as the underskin of his work:

And one sees it today in corporate news coverage. The control by the state of “message.” The “message” of the Olympics is Russia is bad, and full of stupid people. You see terms like “cassocks” used a lot. You see the control in what is covered and what is NOT covered. Your see it in the idiotic disinformation on the planned covert destabilizing of Venezuela (as an example). . . . The media distorts Israeli violence and apartheid. It treats all dissent in the US as either terrorism or kooks. And most of all, the control is exercised via ” entertainment.” The constant, CONSTANT, outpouring of stupidity.

So we are here, where disagreements with the law, the financial rules, all those bankers’ games, everything that culls any sense of common sense, that is somehow suspect. There is madness in what Steppling points to, and this is a country that is in possession of a stone (stoic) heart of a killer, as D.H, Lawrence wrote.

The struggle to understand and value art that “knows something that we do not know” is a constant theme in John Steppling’s work-world.

Commodifying Dissent: Media, the Arts and the Hope in Cooperatives

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By Yoav Litvin

Source: CounterPunch

In the latest onslaught of apocalyptic news updates: The European Union is in crisis after the BREXIT vote, endless wars continue to ravage Africa and the Middle East causing millions of refugees to flee for their lives, ISIS strikes again, this time slaughtering over one hundred and fifty innocent Iraqis in Baghdad, and man-made climate change is wreaking havoc, fueling the third major mass extinction of species on Earth.

Meanwhile, back in the halls of empire the theatrics of the electoral process, together with the usual seasonal sports spectacles are mesmerizing and distracting the vast majority of the American public from the pressing issues threatening society. Despair and hatred mar our streets, nightclubs, schools, churches and movie theaters. Greed has overtaken empathy and a few powerful individuals have squashed the collective. Whole communities have been ravaged by neoliberal agendas that imprison and impoverish, all in the name of the almighty greenback.

But it is just another day at the office for the 1%. They own the Executive, Legislative and Judicial branches of government. As Chris Hedges frequently stresses: “We’ve undergone a corporate coup d’etat in slow motion. And it’s over. We’ve lost, and they’ve won.”

The vast majority of media sources, the watchdogs meant to protect democracy and the people’s interests at all costs, have succumbed to the rule of profit, aka “ratings”. They have become de factopropaganda outlets meant to manufacture consent and sell us on the faux virtues of consumerism and the American dream.

The corporate-owned mainstream media has been complicit on many levels. It is business as usual when a major outlet like MSNBC casually interrupts US Congresswoman Jane Harman speaking about NSA mass surveillance to feature the “breaking news” of teen pop star Justin Bieber’s DUI arrest. News networks carry on for hours with mind-numbing repetition about Donald Trump’s racist and misogynist antics, while all but completely ignoring a massive sit-in led by Democracy Spring, a movement that champions an end to the corruption of big money in our politics. Pundits whose job is to cry wolf endlessly discuss ISIS and the “threat of radical Islam”, but thorough analyses of the continued crimes of capitalism and imperialism are taboo, not to mention any productive discussions about systemic alternatives.

In this climate of corrupted news outlets, media that are independent of corporate funding are crucial in providing the people accurate information about systems of power and control.

But historically, the media has not been the only watchdog for the people and against powerful interest groups. Artists and other creatives have often used their works to voice progressive ideals that rebel against widely held conceptions of gender, race and class. As such, artists have been among the first voices of dissent to be targeted by totalitarian and fascist regimes. In the American capitalist culture, artists fall prey to a system that monetizes and commodifies all walks of life, including health care and education. Many artists willfully sell out, becoming court jesters who contribute their art to the needs of empire, i.e. as propaganda. Now studied as a degree at schools for higher education, the bulk of arts have become part of an “art market” – a multi-billion dollar industry that is more about a lifestyle and an investment, than it is about progressive messages or a passion for a new and interesting aesthetic. In the current cynical era when replicas sell for $100,000, there is little room for political art that expresses genuine and independent notions that challenge systemic conventions.

There are exceptions. Some artists refuse to corrupt themselves and their art by adhering to the whims of the “art market”. Notably, since the late sixties, there has been a movement of graffiti and street artists who have claimed public space from private owners. Born in the Washington Heights neighborhood in New York City (arguably) and now a global phenomenon, graffiti and street art often empower disenfranchised communities by serving as a voice of dissent, and providing free, uncensored messages regardless of commercial constraints.

The pathology behind the hijacking of media and the arts by the lords of capital runs deeper than the mere criminality of the 1%. It lies at the roots of one of the fundamental American values- individualism, where the achievements of the lone genius are sanctified, and those of the collective are ignored or even vilified. Individualism divides and conquers, providing the promise of immense spoils for victors, while always blaming failure on individual inadequacies, not systemic ones.

The cult of individualism has been so deeply ingrained in the American psyche that it has degenerated the biological human affinity to empathize rather than disregard, collaborate rather than dominate and has stifled the desire to give without the expectation of immediate return. Individualism has made cooperation a waste of time. But the fact of the matter is that humans have evolved as a social species and naturally yearn for and need connection, affirmation, love and stimulation to survive, thrive and create.

The crises humanity faces leave no choice but to decommodify dissent, abandon notions of individuality at the expense of others, topple hierarchies, and unite around democratic cooperatives that promote community, democracy and solidarity. Returning ownership of dissent to the public is a crucial step towards revolutionizing the workspace, en route toward a truly free and just democratic society.

Yoav Litvin is a Doctor of Psychology/ Behavioral Neuroscience.

10 Reasons To Embrace Your Inner Weirdness

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By James McCrae

Source: The Mind Unleashed

“Be yourself; everyone else is already taken.” – Oscar Wilde

High school was hard. Not so much the classes. The classes, at least at my high school, were a breeze. The hard part about high school was navigating the social cliques and doing anything possible, including great leaps of effort and imagination, to not, under any circumstances, do or say anything that would constitute the tragic and unshakable label of being weird. I did my best to look like everyone else, and everyone else did their best to look like me. We were all hiding – with each other and from each other.

Being insecure in high school I can understand. Everyone is still growing into themselves and trying to map out their coordinates on the spectrum of social relationships. High schoolers are allowed to be nervous wrecks, afraid that their own shadow will make fun of them if they trip and fall. But after high school, when we transition into adults, shouldn’t this need for approval go away? My high school years are long gone but everywhere I look the social pressure to conform to the standards and expectations of others remains. Adults too are afraid of looking weird. Should we be?

Throughout history, the great creators and innovators were those who were not afraid to stand out from the crowd and risk being different. The truth is, everyone is different. This should be celebrated, not hidden. Allowing yourself to be weird is good because it means you have stopped judging yourself. And when you stop judging yourself you will stop judging others. And when you stop judging others they will stop judging you. But first you can’t be afraid to be different. You can’t be afraid to be weird.

It’s okay to be weird. Here’s why.

1. There is no such thing as normal.

Everyone is weird and therefore nobody is weird. Personality exists on a spectrum. Some people are loud, others are quiet. Some people are creative, others are analytical. There is no right or wrong way to be. There is no normal; there is only natural. What is natural to me may not be natural to you. Don’t worry about being normal. Find your natural.

2. What you think is weird is really your super power. 

We all have traits that make us different. The truth is that what makes you different is secretly your superpower. If it seems weird, you just haven’t learned how to harness the power yet. Instead of hiding what makes you weird, learn how to use it. When you master your quirks you will find power within them.

3. What makes you weird makes you memorable.

Being normal leads to mediocre results. Nobody pays money to see what is expected. People pay money to see things that are unexpected and captivating. What makes you weird makes you interesting because you have something others do not. People won’t remember the thing you did that everybody does. But they will remember the thing you did that only you can do.

4. The world needs more authenticity.

People are hungry for authenticity and realness. Your weirdness is in high demand because it is true. When you start living as your true self – weirdness and all – you are giving those around you permission to do the same. We all want to be real. But we’re afraid to be the first one. Your honesty and truth have great value to others. We may not say it out loud, but we want you to be honest. We want you to be weird.

5. All great art was made by weird people.

Every great creative achievement – whether in music, art, science or business – was, by definition, different, and required a new way of thinking. This is the creative benefit of being weird. Embracing your weirdness gives you a new perspective. Innovation does not happen within the status quo. Innovation happens when outsiders challenge the status quo with weird ideas.

6. Resisting your weirdness makes you dark.

When we freely express ourselves – even our quirks – we feel better. There will always be people who do not understand or appreciate our differences, but that’s okay. But when we hide our unique characteristics and resist our natural weirdness, we don’t feel good. Our personality becomes dark. Just as a black hole results from the absence of a star, so does the rejection of our inner light result in a dark and inverted projection of self. Your weirdness is part of you. It’s okay to let it shine.

7. Standing out is how you find your tribe.

Many people follow crowds because they don’t want to be lonely. But standing out will not make you lonely. When you break away from the crowd you will find others like you. This is your tribe. Most people never find their tribe because they are afraid of letting go of what is known. But when you embrace your weirdness and stand up for what you believe in, you will find those who have stood up before you, and you will serve as inspiration for those who will stand up next.

8. Every new idea is weird at first.

Even the best ideas, when they are first introduced, seem weird. A new idea is like a biological mutation. At first it doesn’t make sense. But eventually the biological mutation finds a purpose. Ideas are the evolution that pushes society forward. When Henry Ford introduced the world’s first automobile, it seemed weird and unnecessary. “If I had asked people what they wanted, they would have said faster horses,” he said. Instead, Ford took a risk on an unpopular idea. It seemed weird at the time, but who could question him now?

9. If you hide your truth you might regret it.

Nobody looks back on life and thinks, “I wish I had tried harder to be like everyone else.” But if you spend your life trying to be like others, instead of being the best version of yourself, chances are you will look back with regret and think, “I wish I had lived without fear of being judged or misunderstood.” In the end, living your truth is all that matters.

10. When you own who you are the world will conform. 

There is power in self-perception. If you see yourself as capable, others will see you as capable. If you see yourself as incapable, others will see you as incapable. When you own your weirdness and claim it as a strength, nobody can judge you. The choice is yours. Would you rather bend your focus to fit the world around you, or bend the world around you with the power of your focus?

“When she transformed into a butterfly, the caterpillars spoke not of her beauty, but of her weirdness. They wanted her to change back into what she always had been. But she had wings.” – Dean Jackson

The Role of Dystopian Fiction in a Dystopian World

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By Luther Blissett and J. F. Sebastian of Arkesoul

A few years ago, Neal Stephenson wrote a widely-shared article called Innovation Starvation for the World Policy Institute. He began the piece lamenting our inability to fulfill the hopes and dreams of mid-20th century mainstream American society. Looking back at the majority of sci-fi visions of the era, it’s clear many thought we’d be living in a utopian golden age and exploring other planets by now. In reality, the speed of technological innovation has seemingly declined compared to the first half of the 20th century which saw the creation of cars, airplanes, electronic computers, etc. Stephenson also mentions the Deepwater Horizon oil spill and Fukushima disasters as examples of how we’ve collectively lost our ability to “execute on the big stuff”.

Stephenson’s explanation for this predicament is two-fold; outdated bureaucratic structures which discourage risk-taking and innovation, and the failure of cultural creatives to provide “big visions” which dispute the notion that we have all the technology we’ll ever need. While there’s much to be said about archaic, inefficient (and corrupt) bureaucracies, there’s also a compelling argument invoked over the cultural importance of storytelling and art and how best to utilize it. One of the solutions offered by Stephenson, in this regard, is Project Hieroglyph which he describes as “an effort to produce an anthology of new SF that will be in some ways a conscious throwback to the practical techno-optimism of the Golden Age.”

While Project Hieroglyph may be a noble endeavor, one could argue that it’s based on a flawed premise. The role of science fiction has never been just about supplying grand visions for a better future, but to make sense of the present. There seems to be an assumption that the optimistic Golden Age had a causal relationship with a perceived technological golden age when it may have simply been a reflection of it— just as dystopian sci-fi reflects and strongly resonates with the world today. Stephenson may be correct in his view that much SF today is written in a “generally darker, more skeptical and ambiguous tone”, but this more nuanced perspective does not necessarily signify the belief that “we have all the technology we’ll ever need”. Rather, it reflects decades of collective experience and knowledge of unforeseen and cumulative effects of technologies. Nor does such fiction focus only on destructive effects of technology, as large a component of the narrative it may be simply because it makes for better drama and the subtext is often intended as a critique rather than celebration. For example, the archetypal hacker protagonists of technocratic cyberpunk dystopias employ technology for more positive ends (though some question whether good SF, as in speculative fiction, needs to involve new technology at all).

A particularly positive function for dystopian sci-fi is its use as rhetorical shorthand. It’s increasingly common in public discourse on major issues of the day to invoke dystopian references. Disastrous social effects of peak oil or post-collapse are often characterized as Mad Max scenarios. Various negative aspects of genetic modification and pharmaceutical development conjure Brave New World. Anxiety over out-of-control AI and resultant devaluing of human life brings to mind films as varied as Blade Runner, The Matrix and Terminator films. The expanding police/surveillance state is reminiscent of 1984 and numerous classics which have followed in its footsteps including V for Vendetta and Brazil. General fears of duplicitous, psychopathic power elites and social manipulation have elevated They Live from relatively obscure b-movie to cult classic. The entry of the term “zombie apocalypse” into the popular lexicon may in part stem from fear (and uncomfortable recognition) of images of viral social disintegration and martial law-enforced containment efforts depicted throughout various media. The burgeoning omnipotence of multinational corporations and hackers in Mr. Robot may have been the stuff of cyberpunk dystopias such as Neuromancer and Max Headroom 30 years ago, yet, it still has much to contribute to the public discourse as contemporary drama. Such visions may not prevent (or have not prevented) the scenarios they warn us of but have provided a vocabulary and framework for understanding such problems, and who’s to say how much worse it could be had such cautionary memes never existed?

The prophetic nature of storytelling, inasmuch as it derives from the minds of authors, artists and commentators that coexist with tensions and contexts particular to their epochs, resonate with the oughts, ifs, and whats inherent to our daily lives. As it were, the cautionary element of narrative is a natural product of the human mind, and the premium of what involves sharing our mental reserves to the world. To creatively dwelve and concoct problems and solutions from experience, is an axiom analogous to that of the categorical imperative—purely, and in abstract terms of what rationality involves. Yet, often times, we find material that is in favor of cultural malaise; of all things pathological in our society, such as censorship, conformity, bureaucracy, authoritarianism, militarism, and capital marketing; things which underpin issues that, if left untouched, can engulf the real brilliance of our spirit.

Stephenson fails to see this point. SF, as any form of intelligent culture, denounces and opposes systems of oppression, and even shows us the how, when, and why—the frameworks, the makings of apparent utopias into dystopias. Dystopian storytelling can serve the efforts of downtrodden creators with utopian ideals as effectively as utopian stories can reframe a societal trajectory led by beneficiaries of real world dystopia (though it may be experienced as utopia for a privileged few). SF does not only conjure visions of better futures. They lend us vocabularies and syntaxes to understand, and impede the fallenness of a confused, and ever increasingly isolated humanity. They are languages that pervade our interiorities, and that allow the exterior to change.

At the core, SF is prophecy through reasoned extrapolation and artistic intuition. This is what SF stands for when properly aligned with the subjectivities of the oppressed, and not with the voices of oppression: true testaments of a space and a time; visions of the future that carefully partake in not committing the mistakes of the past; and tools for our personal and collective flourishing.

Banksy Back in New York

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Artist and activist Banksy has been posting daily works at http://www.banksyny.com/ as part of a monthlong residency in New York. These are some of the highlights so far: