Saturday, May 31, 2014

Tears Before Graffiti


Standing in front of a profane backdrop created by her own campaign, an emotional Annette Bosworth condemned criticism of her...in a free-wheeling news conference Tuesday (May 27, 2014). [Source: Bosworth Condenms Mysogyny]
Annette Bosworth, the Republican canddate for South Dakota, designed her own backdrop as she stood before reporters to make a press conference. As she talked, she started to choke, and hold back tears. The reason? She was "bullied" online and called all kinds of names.

This is the woman who has a website called GiveEmHeckAnnette.com.

Yet, some name calling by anonymous commenters on internet sites is enough to reduce her to whimpers.

To make her appearance more effective at the press conference, she designed a graffiti of the names she was called, and posted it as a backdrop to her press conference. This actually makes me think that all of this was planned to elicit "sympathy," rather than denounce "haters" on the internet.

Imagine Bush, Reagan, or even Clinton (Mr.) complaining that people were writing hate mails which were published in newspapers or internet sites? They would be a laughing stock, and comedians would have (even more of) a field day.

But, so far as I know, the comics have left Bosworth alone.

And she's running for politics? What happens when the North Koreans, or the Chinese, start moving in on America and the West. How about Muslims saying the West is evil and not Allah's desires, and should be removed from the face of the earth? Would she start crying then?

I think she's actually unstable. She has videos where she looks like a cocky cheerleader, and she vacillates from chirpy to manic during her press conference .

So, that still begs the question: Is this a woman able to run a country, let alone a state?
"The misogyny is real," Bosworth said. "Go to the shootings in California. Look around. South Dakota is not unique. Our country has a problem."
Yes, equate the name-calling with people dying!

I had people send me emails calling me racist a while ago. It was a bit of a shock at first, but then I found a solution. I told them that if I heard anything more, I would track down their emails, and report them to the Human Rights Commission. I played them at their own game.

That stopped them!

This site has excerpts from Bosworth's press conference, as well as the full 22-minute video.
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Posted By: Kidist P. Asrat
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Friday, May 30, 2014

Those Canadians!


Of Geese and Dandelions
[Photo by: KPA]


Here's a photograph I took of a couple of Canada geese in a park area filled with dandelion heads.

I think there is a nest nearby. The goose closest looks like he's the male, on high alert, whose
...black bill has lamellae, or teeth, around the outside edges that are used as a cutting tool...
Male Canada geese can be very aggressive they will often attack predators with their wings and bill.
[Source: Canada Goose - Branta canadensis].
The male and female have are very similar, with the main difference being the males are larger. They mate for life.

Apparently, they like to eat weeds, and dandelions are a favorite. Here's an explanation for their attraction to lawns:
Mowed lawns attract geese by providing nutritious, new grass shoots. Such landscapes also offer unobstructed lines of sight, allowing the birds to detect approaching predators from a distance, and enabling the birds to continue maintaining ties between parents and offspring.
[Source: Canada Goose Habitat Modification Manual (pdf file)]
And more information from the same source:
Many urban and suburban areas...were designed and constructed early in the twentieth century, long before resident Canada Geese were abundant birds. They contain landscape features ideally suited for these geese, such as a supply of fresh water, expanses of shortly-mowed lawn, an island with suitable nesting habitat, and sometimes people feeding Canada Geese and other waterfowl.
It's a strangely elegant bird. Its long neck is incongruous with it squat body, and it waddles on its flat, webbed feet. But its black and white neck, with the grayish brown body makes it stand out from a distance. And don't get caught in a gaggle fly over, with a burst of loud honks!


Call of the Wild
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Thursday, May 29, 2014

White Flowers


[Photo By: KPA]

I tried to find the name of these tiny white roses, which grow on a small tree, almost a bush. There is a cluster of five or six per stem. They have a delicate rose scent, and the larger ones have edges which have turned slightly pink, although that could be due to age. The leaves are much larger than the flowers, and act as a backdrop to these clusters of tiny roses.

I was taking the photograph as a gust of wind started to blow. I waited for a reprieve, which came, but didn't last long. I had to, at some point, just take the shot. The slightly out-of-focus effect is really the movement of the bush caused by the wind, not my camera technique! (notice that the flowers on the top, thick branch are in focus). But I like the impressionistic effect.

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Posted By: Kidist P. Asrat
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Wednesday, May 28, 2014

Neat, Precise, Inventive: Canada's Culinary Expert


Christine Tizzard's Best Recipes Ever

If you want to know who is the new Martha Stewart (of cooking at least), here she is:

Christine Tizzard, who has a daily 1/2 hour show on the CBC's Best Recipes Ever.

She is neat, precise, efficient, and creative. These are hard traits to combine. Her daily shows are posted on the CBC's Best Recipes Ever site, if you want to watch her in action.

She talks about her family, talks her way (a little too much, I have to say) through the food preparations, and gives us recipes on a daily basis. And lots of tips. She also has a weekly column in Canadian Living magazine.

Like Martha Stewart, she started her media career as a beauty pageant contestant. She's also acted in a couple of films. But, she realized her potential and went to George Brown College, the local Toronto college, to study culinary arts (cooking), and came out with a new vocation.

The Canadian media tries to glamorize her. This article says she's married to a "rock star." But, I've never heard of him. It's better to call him a musician. And for her to stick to her cooking, which looks like the more lucrative option.
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Tuesday, May 27, 2014

"Mustn't offend? Mustn't offend? That was more important than saving the blessed beauty of our lost civlization...?!"


Kamāl ud-Dīn Behzād, c. 1450 – c. 1535
Persian
Advice of the Ascetic, c. 1500-1550


Diana West eloquently puts Islam into perspective with the beginning lines of her recent article: Report from the Future: The Umma States of America:
Imagine a curious soul or two in the not-too-distant future furtively peeling back the layers and learning the cruel truth: that their forbears willingly exchanged all of their precious liberties for tyranny rather than assess and educate and protect themselves against Islamic conquest -- violent, pre-violent, smooth, explosive, financial, political, kafiyya-wrapped or Armani-suited...They will be astonished, also very angry, over the way free men and women in 20th-21st centuries saw fit...to erect a massive and invasive security state that robbed all citizens of their liberties as they fiddled away the Islamic threat. Mustn't offend? Mustn't offend? That was more important than saving the blessed beauty of our lost civlization...?!
Perfect. We try to sympathize with the Islam that we think we can sympathize with. Mine would be the Armani-suited, although I would paraphrase it with the "Islam that attempts to take example from the beauty it finds in the countries it takes over."

I used to have Iranian friends in university. I found their language beautiful, unlike the harsh guttural sounds of Arabic. We used to frequent a couple of Iranian restaurants, where we had dishes flavored with delicate herbs. And my Iranian friends knew about Paris and fashion, although they were careful since those were the days of the Shah's demise and the start of the Iranian revolution, and any Iranian flaunting her assets would be suspect.

But, every single one of them chose their Islam, and their culture, over the Western culture from which they were getting so much. One girl had a terrible time though, louder than her well-mannered friends. She was clearly rebelling. But they put up with her, and protected her. The men, who looked so modern and were so gentlemanly, would marry women they hardly knew, through arrangements made by their families. One married a girl at least eight to ten years his junior, who was into mini-skirts and shaggy hairstyles. During their engagement, he was the model of tolerance and care, letting her go to dance clubs (with him of course). After their marriage, he graduated and they left, so I never knew what became of her.

At one time, I used to to go to every Iranian movie that came out. I even knew the directors, and would look for their new releases. The regular film festivals (the Toronto International Film Festival here in Toronto) used to have whole sections on Iranian films. But, the theme of these films was always the same: the culture of Islam, one way or another, approved or not by the filmmaker, would dominate. The filmmakers were so adroit at going around the restrictions and censorship that are part of Islamic society, that their very endeavor was artistic.

In an article about Muslim women, I describe a video installation by an Iranian woman. I write, taken in by the poetry of her images:
Iranian-American artist Shirin Neshat’s video installation "Rapture" shows a group of women traversing a long empty beach with a row boat anchored at a distant shore. The women reach the boat amid ululations. Their long black chadors get caught in the water and the wind. Only a few can board the boat while the rest push them out into the open seas.

Neshat’s women have now reached our shores.

[...]

Another striking video by Shirin Neshat is of a singer. Muslim women are not normally allowed to perform before an audience, but this woman circumvents that order by singing into an empty hall. Her Western film audience is as symbolically absent as are her barred Muslim followers. We cannot understand what she is singing while watching the footage, and they are unable to hear what she’s singing for their absence in the auditorium.

In the end, our attempts at understanding may ultimately be in vain. Even Muslim women cannot clearly articulate, and listen to, their own quandaries and dilemmas.
And it is the same now. As West writes, it is irrelevant the form in which Islam is presented to us, its end game is always the same.


Rapture, 1999
Shirin Neshat [Links to biographical information]
Iranian

Rapture is a two-channel video projection divided down gender lines. The male protagonists of the narrative are projected on the left wall of the gallery, the women on the right (Neshat exploited this binary technique in a series of films made in the late ’90s, like “Shadow Under the Web” of 1997, “Turbulent” of 1998 or “Soliloquy” of 1999). This binary formulation is stressed by the artist’s stark use of black and white (down to the actors’ clothes — women in black veils and robes, men in white shirts and black trousers). The viewer, meanwhile, is right in the middle, confronted with the constant dilemma of where to focus her attention; she can’t fully grasp the action in one scene without turning her back on the other. [Synopsis source]
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Monday, May 26, 2014

Memorial Day


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Friday, May 23, 2014

Rural Ontario

Ontario is a strange province. Probably all of the Canada is the same with an uneven amalgam of rural, urban and farmland.

Below, alongside a busy highway, are some houses reminiscent of the old, Victorian era Ontario.

I took photographs of these fascinating buildings, quietly standing and holding their diminished ground, showing us some of this historical Ontario. It is difficult to get to the buildings, but buses do have stops in front of them, although cars have to make a purposeful detour to get to them. Traffic is heavy, with short reprieves from traffic lights which change to red after several minutes' wait.

The William Chisholm House, which is officially known as the Gardner-Dunton House, according to this site is:
Title: Gardner-Dunton House, Britannia
Date Built: Before 1832
Subject: Historic buildings - Ontario - Britannia (Mississauga)
Donor: Planning & Heritage, Community Services
Location: 5520 Hurontario Street, pt. Lot 3 E1/2, Conc 1 WHS

Description: 5520 Hurontario Street. Conc 1 WHS, pt. Lot 3 E¿. Probably built prior to 1832 by William Chisholm, perhaps before Chisholm sold the surrounding land to Joseph Gardner in 1832 for £750. The house, a two-storey, five bay facade Georgian structure, was originally located one mile north on Hurontario Street, but was moved in 1990 to the Peel Board of Education property. Designated under the terms of the Ontario Heritage Act. This is a 1995 photo of the house in its new location.
Here is the screen shot of the house from Google map:



The building is in a field (I don't think it is farmland), a short distance from the city of Mississauga. The high rises can be seen nearby.

Here is my version of the building, with tulips:


William Chisholm House, Mississauga Ontario
[Photo By: KPA]


The building, as far as I can decipher, is now a designated "heritage" building, and is open for public viewing. It is part of the Peel Board of Education, which I suspect is because there is a public school named after Chisholm, in the Peel school district.

This same bus goes further north, and passes another "heritage" building, also in the middle of a field. I once again go off the bus, to see the building.

The door was locked, but there was a group of children playing in the background. I asked the gentleman who seemed like the supervisor if the building was open for public viewing.

No, it is only open on the week-ends, he said.

"How did you get here?" he asked.

"I was on the bus and I got off to see if I could get find out more about the building."

"Well, I can show you in," he said.

So I got a private tour.

The building is a one-room schoolhouse, which was functioning as such until the 1950s.


Britannia One-Room Schoolhouse
[Photo By: KPA]


Here I am, a good teacher, at the front of the classroom, and sitting down, "a good student" as I said to my guide.


Britannia Schoolhouse Interior


Britannia Schoolhouse Interior

The gentleman told me that a group meets regularly to maintain the heritage of the region, and asked me if I would like to join the Friends of the Schoolhouse.

"Definitely," I said. And took down the information to attend their upcoming meeting.

Here is the site with the information:

The Britannia Schoolhouse.

As well as membership information, the site has fascinating documents, photographs, architecture, and other information describing Ontario in the Victorian era. There is a section called "Fun and Games" which shows how these young children amused themselves as they went through their school days. In the "links" section, there is a long list of Ontario one-room schoolhouses.

And here is more on heritage buildings in the Mississauga area, which also includes the Chisholm House:

Architectural Styles in Mississauga.
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Posted By: Kidist P. Asrat
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Monday, May 19, 2014

Wine and Society


Dionysos: God of wine
Marble head and torso
Roman copy after Praxitelean work of the 4th Century B.C.

His appearance matches descriptions in classical literature:
"A magical enchanter..., his bond hair smelling of perfume
his cheeks flushed with charms of Aphrodite in his eyes"
Euripedes, Bacchae 192-194
[The above description is from the information plaque beneath the sculpture at the Royal Ontario Musuem, in Toronto]
[Photo by Kidist P. Asrat]

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It looks like I've beaten the great Camille Paglia to the punch regarding oenology matters. I'm sure Paglia has written about wine before, but I haven't read her exclusive treatise on the beverage. Here is how I associated wine, culture and society in a couple of posts I did last year: Nectar for a Goddess and The God of Wine. In a third post, Dionysus' Fury, I discuss the lost culture of wine where Dionysus raises his fury through me at the ignorance of culture-bereft waitresses. Also in The God of Wine, I discuss the wine and the Eucharist.

I also write about beer, a beverage assumed to be less sophisticated than wine, but I raise its status to The Nectar for the Gods.

Below are some excerpts from Paglia's April 23, 2014 Time Magazine article: The Drinking Age is Past its Prime.

- On the refined cultures of France and Germany, who teach their children how to drink beer and wine, where Paglia associates "learning how to drink" with "growing up":
Learning how to drink responsibly is a basic lesson in growing up - as it is in wine-drinking France or in Germany, with its family-oriented beer gardens and festivals. Wine was built into my own Italian-American upbringing, where children were given sips of my grandfather’s homemade wine. This civilized practice descends from antiquity.
- On the "truth" that wine was associated with in ancient Greece and Rome, which is a precursor to the truth of the Eucharist in Christianity:
...wine was identified with the life force in Greece and Rome: In vino veritas (In wine, truth).. Wine as a sacred symbol of unity and regeneration remains in the Christian Communion service. Virginia Woolf wrote that wine with a fine meal lights a “subtle and subterranean glow, which is the rich yellow flame of rational intercourse.”
- About Dionysus:
Exhilaration, ecstasy and communal vision are the gifts of Dionysus, god of wine.
The article has the usual gems of Paglian Wisdom, but then we also get the erratic jumps of ideas and beliefs that make her works readable and entertaining, i.e. not to be taken seriously all of the time.

E.g.:
As a libertarian, I support the decriminalization of marijuana, but there are many problems with pot. From my observation, pot may be great for jazz musicians and Beat poets, but it saps energy and willpower and can produce physiological feminization in men.
Yes, Camille. And how about the pot-head on the road, in pursuit of that Kerouacian line of poetry?

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Posted By: Kidist P. Asrat
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Sunday, May 18, 2014

What Manner of Man is This,

That even the winds and the sea obey him?
Matthew 8:23-27

Niagara Falls
[Photo by: KPA]


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Saturday, May 17, 2014

Yellow Flowers

The flowers below are from a bush growing in a pathway by a high rise. The bush is part of the "landscape architecture" of the area, but it stands a lone plant amidst the concrete and glass, giving the place a surprising burst of color during these spring days.

As I took the photographs, I could smell a whiff of something sweet, a little like freshly baked cake or cookies.

I used "google image" to find out what the plant is.

It is:
Ribes aureum, known commonly as the golden currant, is a species in the genus Ribes. It is native to Canada, most of the United States (except the southeast) and northern Mexico. The species Ribes odoratum is closely related, and sometimes named Ribes aureum var. villosum.

Description
Ribes aureum is a small to medium-sized deciduous shrub, 2–3 metres (6.6–9.8 ft) tall. Leaves are green, shaped similarly to gooseberry leaves, turning red in autumn.

The plant blooms in spring with racemes of conspicuous golden yellow flowers, often with a pronounced fragrance similar to that of cloves or vanilla. Flowers may also be shades of cream to reddish, and are borne in clusters of up to 15. The shrub produces berries about 1 centimeter in diameter from an early age. Ripe fruits, amber yellow to black in color, are edible. The flowers are also edible.

Cultivation
Ribes aureum is widely cultivated as an ornamental plant, in traditional, native plant, drought tolerant, and wildlife gardens, and natural landscaping projects. Unlike some other species of currants, Ribes aureum is in the remarkably drought-tolerant group of Ribes. [Source: Wikipedia]
So there you have it: cloves and vanilla.

I broke off a stalk, and have it sitting in a mug. The flowers' scent fills up the room subtly. It is more of a honeysuckle scent rather than the gastronomic vanilla or cloves.







This bottom rendition is actually an overexposed, unsaturated image. It looks like I altered it in Photoshop. I think it looks like an impressionistic oil painting. This might be what I can aim for some time.


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Thursday, May 15, 2014

Post-Apocalyptic Vogue

Anna Wintour, editor-in-chief of Vogue magazine, has a new wing named after her in the Metropolitan Museum of Art, in New York.

Here's the announcemnt from the Met's website:
Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that the Museum will designate the space occupied by The Costume Institute as the Anna Wintour Costume Center. The complex has been completely redesigned and renovated and will reopen on May 8 with the inaugural exhibition Charles James: Beyond Fashion. The Anna Wintour Costume Center will house the Department’s exhibition galleries, library, conservation laboratory, research areas, and offices. The curatorial department itself will continue to be called The Costume Institute.

"Anna Wintour’s extraordinary advocacy and fundraising have made this state-of-the-art space a reality,” said Daniel Brodsky, the Museum’s Chairman. “She has the rare ability to rally diverse groups across a wide range of industries to support The Costume Institute so it can educate and inspire visitors from around the world."
Wintour may be at the helm of the most prestigious fashion magazine in the world, but her magazine has been continuously giving us ugliness over the years. I no longer, even if greatly tempted, spend the $6.99 (almost the price of a paperback book) to skim through tens of pages of adverizement to get to the "fashion," since this fashion is often ugly.

So, I was curious what Wintour wore to this inauguration, and here she is.


Anna Wintour, Awkward and Self-conscious

Her "gown" looks like tattered, discarded material stitched together.



And designed by Chanel. Which proves my point that modern clothing is designed to look ugly.

Below, on the left, is the original Chanel (couture) dress.



At least Wintour got rid of the shiny leather corset/belt, and pulled up the neckline, but she has left the cheap plastic gauze both at the top and at the bottom flare of the dress. Random pieces of the material are stuck on the bottom gauze.

The ornate diamond collar necklace she's wearing is incongruous with the patchwork style of the dress. But such is the haphazard style that I expect from Vogue.



Wintour's work out regime is well documented in her spindly, muscley arms.

Looking feminine and beautiful isn't really her objective. Perhaps it is "powerful" that might best describe the aim of these high profile women like Wintour. But then their wires get all crossed, and when they attempt the feminine, they end up looking awkward and self-conscious.

Chanel was well-known for the simple, elegant skirt and jacket ensembles. But, contemporary Chanel is the work of Karl Lagerfeld, the resident designer for that iconic fashion house, and it was he who designed this dress.

Lagerfeld's showcased this dress in front of the fashion elite:
The Chanel Couture fall/winter 2013-2014 collection got unveiled at the Grand Palais on July 3, 2013, during the Paris Haute Couture Fashion Week, giving us an insight into the future of Chanel, at least in the eyes of Karl Lagerfeld. The legendary designer has already gotten us used to his creative ways of making Chanel shows memorable, and this time he transformed the catwalk into a post-apocalyptic theatre. On the background of ruins, he channeled his wonderful couture creations that were apparently paying a tribute to tweed! “The Old World and the New World” was the title of the Chanel Couture fall/winter 2013-2014 collection, where the old was the ruins, and the new – the fab outfits.

The "Post-Apocalyptic" Fall/Winter 2013/2014 Chanel Show at the Grand Palais

This "post-apocalyptic" theater is what Anna Wintour condones as she wears the tattered rags by today's "fashion designer" in this "The Old World and the New World" scenario. The concrete walls were put up for the show, to cover the shining gold arches that support the walls of the Grand Palais, which was built in 1900 as an exhibition hall. Its architects, must be turning in their graves, as must Coco Chanel.


The interior of The Grand Palais from a 1900 illustration
with its gold arches in full spectacular view

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Posted By: Kidist P. Asrat
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Saturday, May 10, 2014

Music and Technique

Technique, or perfecting technique, is the cornerstone of any artistic endeavor. Excercises are essential.

Here are two methods of technique, for flute and piano, and the musucians who developed them.

Carl Czerny
...was an Austrian composer, teacher, and pianist of Czech origin whose vast musical production (more than a thousand pieces and up to Opus 861) is being rediscovered. Czerny's books of études for the piano are still widely used in the pianistic pedagogy.
Here is a partial list of his pedagogical books:
Op.139, 100 Progressive Studies without Octaves
Op.200, The Art of Improvisation (or The School of Extemporaneous Performance)
Op.335, Legato & Staccato Exercises, 2 Bks
Op.400, The School of Fugue Playing, 24 Grand Studies
Op.599, Practical Method for Beginners
Op.718, 24 Studies for the Left Hand
Op.838, Studies on the practical knowledge of all the chords of the General basses
[Source]
Ernesto Köhler
...was an Italian flautist and composer. He was considered one of the must flautists of his era.

Born in Modena, Köhler was taught the flute by his father, Venceslau Joseph Köhler, who was the first flute of the Duke of Modena's orchestra. He moved to Vienna in 1869 as a flautist, and then became a member of the orchestra of the Imperial Opera in Saint Petersburg beginning in 1871. He also led the orchestra of the Imperial Institute of Engineering and taught at the Prinz Oldenburg Institute.

Noted as a composer for flute, Köhler wrote over 100 works for the instrument: études, duets, and solos. He also produced an opera and several ballets. He is well known among flute players for "Flöten-Schule" (c. 1880), his popular method for learning the flute, and for Progress in Flute Playing (his Opus 33, published in the 1880s), a series of three progressive instructional books for the flute player.
[Source]
Here is a list of his etudes.
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Friday, May 9, 2014

As American as a Pick Up Truck

There must be endless songs, movies, stories and images featuring the pickup truck




The first factory-assembled pickup was based on the Ford Model T car, with a modified rear body. It debuted in 1925 and sold for US$281. Henry Ford billed it as the "Ford Model T Runabout with Pickup Body." The 34,000 built that first year featured a cargo box, adjustable tailgate, four stake pockets and heavy-duty rear springs.

In 1928, the Model A replaced the Model T, introducing the first closed-cab pickup. It sported innovations like a safety glass windshield, roll-up side windows and three-speed transmission. It was powered by a four-cylinder L-head engine capable of 40 horsepower (30 kW).

In 1932, Ford Australia produced the first Australian "ute".
In 1932, the 65 horsepower (48 kW) Ford flathead V8 engine was offered as an option in the truck. By 1936, Ford had already produced 3 million trucks and led the industry in sales.[citation nee























Larry Auster and the Unprincipled Exception


Left: Lawrence Auster, giving a speech Islam and the West, Can They Co-exist?, in New York in 2010
(here is the three-part video)
Right: Mary Frances Berry (yes...)
(here's an article by Linda Chavez, at Townhall.com: Mary Frances Berry: Civil rights bully)


These juxtaposed images are from the blog Radishmag. The caption to the images reads:
Auster and Berry: one of them doesn’t believe civil rights apply to white men, and the other was considered “racist.”
Here is what Radishmag's author (one of them) writes in the aritcle following the images:
“Civil rights laws,” noted Mary Berry, the black chairwoman of the U.S. Civil Rights Commission, “were not passed to protect the rights of white men and do not apply to them.” Besides Ms. Berry’s subtle take on “civil rights,” doublethink reminds me of nothing so much as the late Lawrence Auster’s concept of the unprincipled exception:
Radishmag also links to a post by Larry with a list of his articles on unprincipled exceptions. One example is:
And here’s an article on the unprincipled exception avant la lettre, in which I pointed out how liberals exempt themselves from their own rules when they feel it is necessary for their own safety (e.g. liberal opponents of gun rights owning their own guns), but that they never draw any larger conclusions from this.
Below is the full video of Islam and the West, Can They Co-exist?



I'm posting below the full article by Larry Auster, The Unprincipled Exception Defined, a term which he himself coined.

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The Unprincipled Exception Defined
By Lawrence Auster
Posted at View from the Right on June 14, 2006

Recently, VFR readers and others have been introducing the concept of the unprincipled exception into online forums. While there are many articles by me that touch on the subject from a variety of angles (the key articles are listed here), there is a need for a short definition and reasonably concise explanation of this sometimes difficult concept.

Definition:

The unprincipled exception is a non-liberal value or assertion, not explicitly identified as non-liberal, that liberals use to escape the inconvenient, personally harmful, or suicidal consequences of their own liberalism without questioning liberalism itself.

Alternatively, the unprincipled exception is a non-liberal value or assertion, not explicitly identified as non-liberal, that conservatives use to slow the advance of liberalism or to challenge some aspect of liberalism without challenging liberalism itself.

Explanation:

Modern liberalism stands for principles of equality and non-discrimination which, if followed consistently, would make a decent life in this world, or any life at all, impossible. But modern liberal society does not permit the public expression of non-liberal principles, by which rational limits to equality and non-discrimination, or indeed the very falsity of these ideas altogether, can be articulated. This fact forces liberals continually to make exceptions to their own liberalism, without admitting to themselves and others that they are doing so. Such exceptions must take inchoate, non-conceptual, pre-rational forms, such as appeals to brute self-interest, to the need to respond to a pressing emergency, or to common sense. For example, liberals who want to escape from the negative consequences of their liberal beliefs in a given instance will often say that the application of a liberal idea in that instance “goes too far,” without their indicating by what principle they distinguish between an idea that has gone “too far” and one that hasn’t. In fact, it’s purely a matter of what suits their own comfort level and convenience.

Conservatives also must have recourse to the unprincipled exception, but for a different reason than the liberals. Liberals are seeking to escape the negative consequences of their own liberalism. Conservatives, of course, actively oppose liberalism, or, rather, they oppose some aspects of liberalism. But, because the conservatives live in modern liberal society, where principled opposition to liberalism is not allowed, and also because the conservatives themselves subscribe to liberalism and are not prepared to think outside its concepts, the conservatives’ only available means of opposing some aspects of liberalism is by unprincipled exceptions, such as appealing to common sense, or to the shared unreflective habits of society, or saying, “That’s just the way things are,” or asserting that a particular liberal belief is “silly” or “stupid” or “extreme.” These methods allow conservatives to find fault with various symptoms of liberalism, without attacking liberalism per se.

For example, a conservative might advocate the exclusion of Muslim jihadists from U.S. immigration, or the ethnic profiling of Muslims in airport security checks. But he will not challenge, or, indeed, even mention, the underlying liberal belief in non-discrimination that compels us to admit Muslim jihadists in the first place and that requires us to avoid ethnic profiling of Muslims. Instead he will make a non-conceptual appeal to common sense: we’ve got a really serious problem here, we can’t continue admitting these people into America, we can’t continue checking babies and old ladies in airports instead of focusing on young Muslim men, we’ve got to do something. And if there arises a social consensus at that point that the problem is indeed great enough to warrant an exception to the liberal rule (and such a consensus began to emerge regarding ethnic profiling of Muslims in the aftermath of the foiled attack on trans-Atlantic airliners in August 2006, when even liquids and books began to be banned from planes), then this opinion will become an accepted position, without the principle of non-discrimination that led us to the absurdity of admitting jihad-supporters into the West and of prohibiting ethnic profiling of Muslims in airports ever coming into view. Thus the excesses of liberalism that are intolerably costly and dangerous can be corrected, without the liberalism that led to those excesses being criticized or even becoming an object of consciousness, and without the conservatives who carried out the act of correction appearing as anti-liberal.

The above does not apply to all conservatives in all situations. There are many instances where a conservative argues against a liberal position on the basis of principle. But even these relatively more serious conservatives will tend to oppose only some particular aspect of liberalism, not liberalism as such. For example, there are conservatives who make good arguments against putting military women into combat or quasi-combat assignments, but they never challenge the underlying sexual integration of the military of which the placing of women in combat is the inevitable result. There are conservatives who make good, articulate arguments against same-sex “marriage,” but they never question the general idea of equal freedom that has led many people to support same-sex marriage.

What the above suggests is that the unprincipled exception is only a holding action against liberalism, a form of foot-dragging. This is because liberalism, with its principled demand for the elimination of all discrimination, keeps becoming more and more comprehensive and extreme in its goals, sweeping aside the remaining unprincipled exceptions to itself until everything non-liberal has been prohibited and the society is destroyed.

Under the rule of modern liberalism, both liberals and conservatives must resort to the unprincipled exception to contain the excesses of liberalism, even though the UE, being non-rational and lacking a principle, is ultimately impotent and cannot save them. They will go beyond the unprincipled exception only when they are free to express non-liberal concepts. To put it another way, liberalism, an all-encompassing belief system that prohibits any rationality other than its own insane rationality, forces people to be irrational in order to fend off liberalism’s intolerable consequences. The mission of traditionalism is to engage in and legitimize rational opposition to liberalism, its ultimate aim being the end of liberal rule over society and the restoration of our humanity.
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Posted By: Kidist P. Asrat
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Destroying the Image












Still from film "The Young Prince" by Bruce Elder

Here is an email interaction I had with a Reclaiming Beauty reader who was getting spam email after commenting on my site. He also informed me that he was a student of Bruce Elder.

I am posting the interaction since it is really a continuation of my posts which I titled Art Thieves.
Dear _____,

Sorry to get back to you late. I cannot "unsubscribe" you at the moment, but I'm looking up how to and hope to do so soon.

[...]

Yes, I had Bruce Elder. He was an odd fellow, and to be honest, not very artistic. I think that was partly his forceful presence in "experimental" film. He started out as a poet, but failed at that, then turned to film.

I was one of his protege's, but I left the group. I criticized him on several occasions, twice during speeches he was making at public lectures. He could never answer my basic question of "why was he trying to destroy the image." He would thoroughly disapprove of my "realist" approach to photography.

I also similarly criticized the big and formidable Stan [Brakhage] during one of his visits to Toronto, in Bruce's home, where I was a member of his "round table" group of students, faculty and artists (we met about once a week for drinks and discussions). My question to Stan [Brakhage] was similar in stance to the one I asked Bruce [Elder], of why he was destroying the image. Stan [Brakhage], for a few brief moments, didn't know what to say. I think he deflected the question and talked about something else.

Your photographs are wonderful. You have a beautiful family.

All the best,

Kidist
Here is the response from my correspondent:
No rush. Thanks.

p.s. I must contact a friend who now lives in Montreal and tell him your thoughts on Bruce Elder. He'll smile. I had Bruce speak at an NPPA seminar once. I gave him a simple task, to talk about two television news reports, one American and one Canadian and both reporting on the same story. The news stories took two different views. The news was clearly biased in one or both countries. Bruce veered off into a very weird talk that literally emptied the auditorium. Hundreds fled his talk. I laugh now but I was the seminar chair and it was an awful moment.

Cheers!
I reply:
Dear ____,

I have removed commenting functions from Reclaiming Beauty. It looks like people send spam email to those who comment, as one reader informed me.

Thanks for your patience.

Here is one really interesting piece of information proclaimed by The Great Bruce himself:
"Years ago, I used to tell people, only half facetiously, that I was a film maker because I wasn't a creative artist."
More at In Conversation with R. Bruce Elder on the "techniques" he developed to make his films (one of which, I should add, which he hasn't, is to stand clothless infront of the camera being "creative" with himself).

He got one other film student, a woman called Izabella Pruska, to take off her clothes and make her "films." Here she in all her non-glory posing for the Toronto Star.

Here is her [film] Garden of Earthly Delights, which is a clever erotica, a la Elder, where we see flashes of her "delights."

They have made porn, basically. The greatest of nudes in classical painting were never so explicit (or subversively explicit).

And here is Pruska's latest: This Town of Toronto, with the Elder imprint of layered images that are difficult to decipher, repetitive, and which I call "destruction of the image." And Brakhage's imprint of flowers as erotica. Also, using old (or found) footage is another lazy way out of making films and photographs, as I write here in my recent post Art Thieves.

The film was shown at a Ryerson University Symposium in 2013: Electric Visions: How DADA and Surrealism Anticipated the Later Avant-Garde.

Pruska also had funding from Canada Council to make this 3-minute piece. They never think to fund their own films. Pruska is married to a well-positioned pharmaceutical researcher, at INC Research, who I have no doubt has enough money to pay for his wife's "experiments" - (the Elder crowd calls itself "experimental film makers").

Pruska, and MacDonell (subject of Art Thieves) both teach at Ryerson now. The "legacy" lives on.

Macdonell never took off her clothes, but her Masters thesis, which went into the "festival" circuit, was based on the "found" images of a "burlesque dancer" as she calls it, which is another way of saying "a stripper."

Better label for these film makers might be "Subversive porn film makers."

Those that Elder couldn't get to declothe, he got them to shoot him in his exposed glory. One woman who filmed him in his many naked works, never worked in film after that. She is now a manager (or producer, or a freelancer) at some video production company.

Elder tried to get me to film him as well, but that was one of the last straws which convinced me to quit his program. I left without finishing my degree at Ryerson (with only one more year to go!).

But, I got my films exhibited around Toronto [and in Europe], as well as my photographs.

I do not miss those days. As Elder said, there was nothing creative about it. I actually call it 'evil." His aim is to get at your "subconscious," and more precisely, your sexual/Freudian subconscious.

[Stan] Brakhage [an American filmmaker] also worked at this "subliminal" level, and essentially destroyed or distorted the image to make his films. But he was [more] clever than Elder. He made "imageless" films by coloring on the film itself. He is really akin to the abstract expressionists, who "splashed" paint all over the canvass, a la Jackson Pollock.

Here is a link to his "method" and aim.

Elder has a new book out (he is a prolific writer, or re-writer I should say), on Dada and surrealism. Both these movements are dead and gone (probably how their founders would have wanted it), but Elder keeps on churning out the Dada and the Surreal.

Here is the link to Dada, Surrealism and the Cinematic Effect, which came out in 2013. Same old, same old. Elder gets grants from the Canada Council and other government agencies to make his films and write his books. He has convinced them such that he can do whatever he feels like, and they give him the money for it.

Here is a google books link if you want to read large excerpts from the book.

This Dada book was funded by:

- The Canadian Federation for the Humanities and Social Sciences
- Canada Council for the Arts
- Ontario Arts Council
etc.

The links below are from my old website, Camera Lucida, so images are missing, but here are a couple of posts I did on Elder when his film The Young Prince came out.

New Books on Art: Beauty, Dissent and Wreckage (April 14, 2009)

The Destruction of Art by Artists: Comments on Bruce Elder's Film "The Young Prince" (April 25, 2009)

I hope I haven't bored you!

Best,

Kidist
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Posted By: Kidist P. Asrat
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