Showing posts with label Discrimination. Show all posts
Showing posts with label Discrimination. Show all posts

Thursday, May 17, 2018

"NYT: Talented poor not choosing to attend good colleges"

NYT: Talented poor not choosing to attend good colleges
Lawrence Auster
View From the Right
March 17, 2013



(Note: see in the comments a reader’s correction of my speculation that the poor, talented students of which the Times is speaking are primarily blacks.)

But if, as the Times reports, these students do not even know of the existence of better colleges in America, and they have absolutely no aspiration to attend any schools that are outside their local area, how smart and talented could they be? They appear to have very small horizongs and little knowledge of and little curiosity in the world. Don’t very smart people tend to have large horizons?. My guess is that the Times is doing its usual rationalizations for the intellectual and other deficiencies of blacks. I did not read the entire article,but I’d say that it’s fair possibility that it ends up asserting that these students are culturally and geographically isolated by racial discrimination and by the lack of special federal programs that inform them of the existence of better schools. The eternal top-priority project and moral obligation of Liberal America (America 2.0)—at unlimited cost in societal effort, taxpayers’ money, and orchestrated white guilt—is to render blacks in general as functional as whites in general. And that will never happen. And no one who makes his living in mainstream America dare say it..

— end of initial entry —


Daniel F. writes:
I saw from Steve Sailer’s post on the same article that the low-income, high-aptitude cohort under discussion is 69 percent white and 15 percent Asian. So the large majority of the kids at issue are white.
LA replies:
Thanks for the correction. But I wonder if that information was in the Times article (which, again, I didn’t read the whole of and was only making a reasonable speculation on, based on past Timesean behavor), or only in the Sailer post.
Daniel F. replies:
The racial breakdown is in the NY Times article itself, about midway through. I suspect that Sailer is right that the problem is really with white kids, since channels are in place to whisk whatever (relatively) high-aptitude black kids make it through high school (most of whom are female) into elite colleges. Such kids are in extremely high demand, as I’m sure you know. By contrast, the powers that be could not care less about smart white kids from lower middle class or working class backgrounds. [LA replies: That all makes sense, and is not surprising. But it’s still fascinating. By the way, like Mr. Spock, I never say, “Fascinating” ironically, which people often think I do, because such behavior is now so common. I never (well, hardly ever) give a compliment ironically, which, again, has become a common behavior in our increasingly cynical and nihilist age.]

I’m amazed that you are able to do as much as you are still doing with the site. Your will power is amazing. May your pain be moderated and may you continue to make good use of your time with us, however you see fit.

“Blessed shalt thou be in thy coming in and blessed shalt thou be in thy going out.” Deuteronomy 28:6.
LA replies:
Interestingly, Deuteronomy 28, in which God alternatively presents the blessings and miseries he will deliver to the children of Israel depending on whether they follow or don’t follow his ways, is the source of the quote that I used at the end of my speech, “Multiculturalism and the War against White America,” at the first American Renaissance conference in May 1994.

I said:
In Deuteronomy, Chapter 28, God pronounces the curse that will fall on the people of Israel if they fail to follow God’s law:
“Your sons and your daughters shall be given to another people, while your eyes look on and fail with longing for them all the day; and it shall not be in the power of your hand to prevent it. A nation which you have not known shall eat up the fruit of your ground and of all your labors; and you shall be only oppressed and crushed continually; so that you shall be driven mad by the sight which your eyes shall see.”

Unless America wakes up to the threat of demographic and cultural dispossession, and finds the will to resist it, the curse pronounced in Deuteronomy awaits us all.
[end of speech.]
Karl D. writes:
I agree with what you said in the initial entry. Whether they be white or black, how intelligent can these young people be if they are so provincial? I grew up in Brooklyn and Queens and I remember as a teenager there were a couple of kids I knew who had never been over the bridge to Manhattan. Imagine that! They lived a mere three to five miles away from the world’s most famous and celebrated city, and they had never been over the bridge nor had their parents taken them.
March 18

James P. writes:
I went to high school in “the provinces” (Phoenix) but not in a low-income family. Just the opposite—I attended an expensive private school. Many of my classmates attended highly selective and prestigious universities. Yet an appreciable number of them attended the local, low-prestige school (Arizona State). These people had certainly heard of high-prestige schools back East, knew people who attended them, and could afford them, but chose not to attend these schools themselves. The problem was not lack of intelligence, knowledge or money, but motivation. Some of them didn’t want to be geographically far from their parents, others just didn’t know what they wanted to do with their lives. If this problem exists at the higher end of the income spectrum, I imagine it is even more prevalent at the lower end. The article notes, “Low-income students who excel in high school often do not graduate from the less selective colleges they attend”—which indicates to me that the problem is indeed motivation, not brains. You can graduate from high school on autopilot because all your choices are made for you and then wind up floundering in college because there are too many choices.

Thus the idea that these low-income kids in the Times article are “not really” smart and talented may be wide of the mark. I suspect that the system will make a special effort to seek out and attempt to inspire unmotivated black kids, and will be more likely to let unmotivated white kids fall through the cracks. (“If you don’t take advantage of your White Privilege, we have no sympathy for you!”)
LA replies:
This is very interesting and has the ring of truth.
Your observations remind me of someone I know. He is highly intelligent and extremely articulate. He writes like an angel. He is cultivated, being deeply knowledgeable about such fields as classical music and opera.

When he told me that he had never attended college, I was, frankly, gobsmacked, meaning that I was astounded to the utmost degree of astonishment.

He was graduated from high school in a Midwestern state in the mid-1970s. Now if I heard the same story from a person who went to high school in the 1930s or early ’40s, I would not have been astounded, because before the postwar period, as we learned from the Part One of The Bell Curve, before the postwar period people with high IQ were scattered throughout every walk of life in this country; but after the war the American system of education began pushing cognitively able young people into college and the professions, especially via the SATs, which had been deliberately designed to search out the cognitively talented who previously had not gone to college.

So how did it happen that he did not attend college, and how did it happen that he spoke so well and wrote so well without have gone to college? I had never met a person lacking a college education who expressed himself so well, with a perfect command of English usage and grammar. (And readers know how fussy I am about that—I am the man who will sit up in my coffin at my funeral and correct the pastor on a grammatical mistake!)

First, he had not had any intellectual or academic interests when he was in high school. He was into crafts, athleticism, things like that. The thought of college had simply never occurred to him. Second—and this part still astounds me—not a single adult in his life, whether his parents, his teachers, or his school advisors, had ever talked to him about the idea of his going to college. He had not even taken the SATs.

Second, as for his marked intellectual abilities and accomplishments, he only acquired intellectual interests in his twenties. He must have read a great deal, and developed on his own his excellent writing abilities.

I don’t know what general lessons this story offers, as it is in my knowledge atypical, indeed, unique. I’ve told it because I find it so interesting, and because it shows a unique individual.
Posted by Lawrence Auster at March 17, 2013 11:30 AM | Send

Saturday, May 12, 2018

The Covert (is there any other way?) Satanic Imagery in the New
Art Gallery of Mississauga Exhibit

Once again, this is a long project which I will be studying and researching.

But for now, the Art Gallery of Mississauga, like all modern (contemporary) art institutions is projecting Satanic influenced imagery in its current exhibition.

The Gallery's curators spend hours researching potential exhibitors and know the fine details of their professional lives and outputs. So they understand very clearly the artistic and cultural positions of their exhibitors.

Lotte Meret Effinger, a German artist, has a video projecting at the AGM's seeping upwards, rupturing the surface exihibt.

The video exhibited is titled Surface Glaze and is part erotica (a mouth consumes an orchid), and fully a nihilistic deconstruction of image (and life). All we're left at the end of the video, as the "glaze" subsumes the screen, is a dry matter encrusted over its leftovers.

But it is her video Supernature (not exhibited at the AGM) which clearly presents her artistic and paranormal beliefs. Here, a zombie witch (whose gender is nonetheless not clear) sits in a forest as she (it) genuflects its arms around its grey hair (casting spells?). Later in the video, this zombie witch joins other creatures as they run through the forest, two which are horned, and another a more "conventional" witch with a haggard grey face and decayed teeth.

This is no late night horror movie, but a call of spirits, an invocation of Satan.

Effinger, in an interview, talks about her witch imagery, anchoring her satanic force with feminist ideology:
The witch has long been portrayed as the outsider, whether as a monster or as a resistance fighter. Many political, religious or social movements used this figure to establish their identity by defining the “other” and it is amazing to see how these various interpretations reach out to the contemporary use of the word “femininity” in regard to emancipation. This recalls the complex process of defining gender, power and desire.
The Art Gallery of Mississauga has been skirting towards paranormal imagery for some time now. I first noticed it with the Homer Watson exhibition in 2014 when I wrote:
Part of Beyond the Pines: Homer Watson and the Contemporary Canadian Landscape's purpose was to present Watson's landscapes as though they were infused with ephemeral supernatural beings. The AGM's curators obtained this notion of "spirits" from one aspect of Watson's life: his questions regarding his deceased sister and whether she could be "visiting" him. “Could it have been? Or was it a delusion?” he asks of a "vision."

Nothing is defined about Watson's belief in spirits, but it makes for an interesting exhibition.
I believe now the beautiful work by Watson, filled with southern Ontario landscapes, attracted Kendra Ainsworth's (the curator of the exhibit) attention because it tied so well wth these "ephemeral supernatural beings," so alien to the Judeo Christian origins of Western art, whose origins are grounded in the non-ephemeral supernatural being of God.

In a Godless universe, or a world that rejects God, other "spirits" compete to fill in the gap, as Satan did so prophetically in the very first chapter of the Bible.

Perhaps that is the reason that the AGM staff went after me so viciously, threatening to have me treated as a criminal for simply saying the Truth.

Last year, at a lecture on the Homer Watson exhibition, I asked clearcut culture and technique related questions. Mandy Salter the director of the AGM emailed me:
If at any point in the future, you visit the AGM and create an unsafe, critical and or threatening space, we will contact security who will request that you leave the premises.
And this year, about two years after that email, about a week ago, I felt it important that I see this exhibition in person (and I had caused no "incident" at the gallery which I had never entered since the email).

Salter sent me another email. (I actually met her there and greeted her (as did she greet me) pleasantly. She didn't even remember me!):
I had emailed you some months back expressing the AGM’s concern with the nature of your reviews and commentary for the AGM’s programmes, staff, artists and community. I had clearly articulated at the time that if the hateful and insulting tone of many of your blog posts, in regards to AGM content, staff and or community did not cease, you would be no longer welcome at the AGM. While you certainly have the right to freedom of speech, the AGM also has the right to not be defamed and or the recipient of hate propaganda.

As you have continued to criticize, defame and generally create an unsafe space for many at the AGM, you will no longer be permitted to enter the AGM premises under the Trespass to Property Act, RSO 1990, c. T.21 - Ontario.ca

If you are to enter the AGM premises at any time in the future, you will be escorted off the property immediately by City Security.

Mandy Salter
Of course Salter never made any reference to any of my blog posts at the initial "warning." Nor did she reference any in this recent one. Her reference to the "unsafe, critical and or threatening space" I may create, I assumed in the initial communication, was to the "difficult" questions I had asked the artists at their presentation's panel.

As I said, there is a lot to dismantle here, including the "hate propaganda" that Ainsworth and other participants in the AGM's activities subtly display towards Western art and Western artists, for which I have dedicated my entire Reclaiming Beauty website. I consider myself an expert on discrimination against Western art and culture, and have made public presentations on such a topic.

And since when is being "critical" a criminal offense!

Hate is "hate" only one way, is The Canadian Multi-Culti Way.

At first, I thought it was fear of my derailing their funding projects that induce them to take (or threaten to take) such harsh measures against me. But now I believe it is far stronger than that: They fear me, or more precisely, they fear the Truth.

All of us are sinners. But rejecting God has never been my sin.

By giving exhibition space in the AGM to such ideas and beliefs as Effinger's and the many similar others where in the last two years foreign and alien gods have been given artistic reverence in the AGM's exhibits, Ainsworth and her colleagues could then begin to carry on with their societal revolution: The annihilation of Western art, primarily through the annihilation of our God. That racist, oppressive civilization, they would say, while the truth is it is their abhorrence of the God who has directed this art for centuries that guides their mission. As they can kick out God(!), they can continue with their multicultural (non-Western) mandate and bring in those gods to fill in The Space.


The Temptation of Christ on the Mountain
Duccio di Buoninsegna (ca. 1255−ca. 1319)
Date: 1308−11
Medium: Tempera on poplar panel (cradled)
Dimensions:17 x 18 1/8 in. (43.2 x 46 cm)
Purchased by The Frick Collection, 1927




Thursday, June 1, 2017

Double Whammy Discrimination: Diversity at all Cost Even if it Means Empty Museums











In our postmodern era I would be defended as a discriminatee.



My non-White, Third World background would automatically place me in the "victim" pigeonhole where my word against my white "antagonist" would preside, NO MATTER WHAT.



That is, until I start to defend this "white" monster and say he is the one being discriminated against.



Then the wrath, slow though it may come, is full on!



Especially if it is a white women who is regulating the discrimination channel.



This happened to me recently after I attended (and participated in) a lecture at the Art Gallery of Mississauga, where a group of artists were to discuss the works of Homer Watson, a late 19th early 20th century painter from southern Ontario.



I wrote about the exhibition and the panel discussion here: Homer Watson, Native Son. But I left out my questions to the panel.



As wrote in my post:

Last year, I attended a panel discussion on the exhibition Beyond the Pines: Homer Watson and the Contemporary Canadian Landscape at the Art Gallery Mississauga. I had visited the exhibition numerous times, going through Watson's work one by one, to study his technique, his evolution as an artist, his views, his concerns, and his Canada.



The exhibition also displayed works by contemporary Canadian artists to bring this pine "narrative" to the fore. Some were reasonably good, but none reached the overall skill and beauty of Watson's paintings.
I was gong to leave it at that, just a personal observation (not naive or untutored, since I have a solid background in the arts), hoping that I would gain some insight from these artists.



But I should have known better.



The catalogue the AGM produced for this exhibition prefaced with this objective:

Contemporary Canadian artists looking at landscape must also find a way to access the ‘truth’ of a subject that is not only strongly represented in our national artistic history, but one that is both deeply political and personal.
So the "truth" of a subject is now mandated to "represent" not just our nation "objectively" but has to incorporate political and personal views as well.



A tree is not a tree is not a tree, to paraphrase Gertrude Stein .



I asked Reinhard Reitzenstein, one of the panelists, who is a pretty good sculptor (and who is white), if he believes that Homer Watson's standards, and art, set an example for artist in general or if his English (Western) heritage is insignificant. This was of course not what I was asking, as Reitzenstein clearly understood. I was asking him if he thought that Watson's work was good, was superior.



Reitzenstein talked for a bit and finally admitted that he doesn't want to emulate the now archaic art of Watson. We are in the modern age after all!



So, irrespective of technical expertise, artistic beauty, or individual ingenuity, as long as an artist follows the archaic art of Watson, his work can not be deemed "good."



This is the tired discussion of art which has reached now such a comical zenith that works are exhibited in museums and galleries simply based on their mockery (and not simply rejection) of this western tradition. And many artists have become wealthy doing so.



But the public isn't with the program, which is why the Art Gallery of Mississauga has to go through loopholes to get people to visit its exhibitions, including set up committees and workshops to "study" this lack of museum attendance.



I received a "newsletter" email about a year after this exhibition from the AGM, one of the few I have received from them to invite me to participate in two workshops ttled: Collections Through The Prism of Diversity Series (here are day one and day two of the schedules):



But I was given about a week's notice for a two day workshop, where would have had to pay $250/day to attend. My first reading of the email, before I saw the dates, was to figure out ways could come up with the sum, including asking for a reduced fee. Soon after, I realized that I was put on the list as a "visible minority" participant.



Here is the email I sent the gallery:

I can only surmise from this late notification that the AGM is getting some kind of monetary benefit from this "email list" which it seems to use haphazardly to meet with its program mandates.



In my case, the mandate appears to be that of a minority female artist who can participate in the discussion on how to add more "diversity" into the art collections of the region.



Through your lack of appropriate notification, you indeed lost the participation of a minority female artist (myself) who would have made a unique and substantial contribution to this discussion.
And the reply I received from Mandy Slater the director:

The AGM prides itself on its high professional standards and its strong relational manner. We provide a safe and accountable space for our diverse staff, volunteers, artists and audience. All of this supports the democratic nature of the work we do at the AGM.





Moving forward, if you are able to visit the AGM in a congenial and supportive way I encourage you to do so. If at any point in the future, you visit the AGM and create an unsafe, critical and or threatening space, we will contact security who will request that you leave the premises. If you do not comply they will be entitled to further legal action under the Ontario Trespass to Property Act. I have cc’d senior Security Officers at the City of Mississauga on this and other incidents regarding inflammatory and false statements made by yourself.



The AGM prides itself on embracing diversity and inclusion as a core institutional value. We strive to create an accountable and inclusive space that supports like-minded individuals.
Diversity counts at all costs, even if it means getting the "diverse" complainant out the door!



The irony of the AGM's position of course doesn't occur to its staff: that they are discriminating against me (shutting down my "voice" ) in order that they might continue with their program is exactly what they are accusing the white inheritors of Homer Watson.



This time though, they have found a whole different story: An "ethnic minority" who supports a white tradition!