Weekend Linkage

Paleo Retiree writes:

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Elsewheres

Fenster writes:

Mostly on Mommy and Daddy themes.

“As a human being we should pay attention to fear and not logic”.  As a friend puts it, pathos beats logos any day of the week these days.

Kirsten Gillibrand seems to be cornering the pathos market.   They used to refer to the Republicans as the Daddy Party and the Dems as the Mommy Party.  She is pushing things pretty far towards the Mommy pole, though of course that particular term is now verboten.  In any event, a heart-uber-alles approach to national policy could well be a wise politically–for a time at least.

Though she may have to deal with Nxivm in her past. Talk about Bad Daddies!

The Daddy Party still has purchase in Israel.  One has to hope that Benny Gantz is overreaching, but you never know.  Jewish values appear to play out differently in homeland mode than they do in diaspora mode.

And on that point, Israel’s willingness to give in to Daddy urges does not sit all that well with a lot of Americans of a universalist persuasion, many of them Jewish.  Michelle Alexander–herself not Jewish–recently took Israel’s Daddy side to task. In the New York Times.  That seemed to unearth some native tensions.  Will she be at the New York Times a year hence?  Betting window now open.

More tension between Mommy and Daddy.  Recently at UR Paleo linked to a Joanna Williams essay in Spiked pointing out how virtues such as Stoicism have become deeply unfashionable.  But even the New York Times will concede that “the Stoics are wildly popular among readers (predominantly men)”.

And here is a link to Modern Stoicism.  Free courses,  Stoic Week and Stoicon, an annual conference.  A guy thing mostly, looks like.

Mommy is not always to be supported, especially if she kowtows to a Bad Daddy.  That’s Melania’s curse as a First Lady.  After bashing her with what amounted to lies the UK Telegraph has formally apologized to Melania Trump for an article about her.  It contained what the American press might choose to call inaccuracies but which the Telegraph, to its credit (even if under legal duress) acknowledges as “false statements that should not have been published”.  A money settlement, too.  Interesting that we don’t hear much about this in the US press, which is as good as or better than the Telegraph at fake news.  The UK just has tougher libel laws.

Finally on to the epic Mommy-Daddy battle of Pelosi and Trump.  What is Trump up to with the Shutdown and the Wall?  Is he really backing down or is he preparing the battlefield?  Does he really have three weeks to save his presidency?  Is Q relevant to any of this?

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Notes on “The Island at the Top of the World”

Fabrizio del Wrongo writes:

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There is little build-up to the adventure story presented in the 1974 “The Island at the Top of the World.” Almost immediately after their initial meeting, an aristocrat and an archaeologist set out for the Arctic and a hidden isle, where the former hopes to find his missing son. The picture has a flat, TV look, which works against the fancifulness required to adequately present a Verne-style adventure. Fortunately, the special effects offer partial compensation. Matte paintings and optical effects abound, some of which are successful in spite of (or perhaps because of) their obviousness. The scene depicting various species of whale swimming towards the cetacean graveyard is one that children are likely to remember long after they’ve forgotten the movie’s shortcomings. And there are some lovely images: the explorers’ airship emerging from a barn as children tend sheep in the foreground; the airship, wounded in a collision, slowly careening off into the clouds; the explorers, in a faux distance shot, picking their way through an enormous underground ice cavern; the interior of a Viking hall decorated with huge fire-lit statues. The climactic fight against killer whales is novel but something of a letdown. Why not give our heroes a real sea monster to battle? Director Robert Stevenson and his Disney team are smart enough to keep the incidents flowing; the action never grows tiresome– not even after it’s revealed that the inhabitants of the much-sought-after island are movie-lot Vikings with silly beards. You can see what drew Disney to David Hartman: He has the puppy quality required of the studio’s leading men of this period. But it’s disappointing that the screenplay doesn’t give him more to do. Mostly, he provides “archaeological” background details. Disney would have done well to allow his character to develop an attraction to Agneta Eckemyr’s luscious Norse maiden. Then you might feel something when he’s forced to remain in the land of the Vikings. Instead, you think, “Good, stay there.”

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Weekend Linkage

Paleo Retiree writes:

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Weekend Linkage

Paleo Retiree writes:

  • By over-protecting our children, are we driving them crazy? Jonathan Haidt thinks so.
  • My wife and I enjoyed this Brendan O’Neill conversation with Jonathan Haidt.
  • The very smart Stuart Schneiderman responds to the American Psychological Association’s distaste for “traditional masculinity.”
  • Milestone du jour: The Alt Right becomes tabloid fodder.
  • Is the Obama administration to blame for all the financial-provider deplatformings that we’re witnessing these days?
  • Who could have predicted this development?
  • Although being a writer never made much financial sense, it makes even less sense now.
  • Loyalty-oath alert: Do we have any right to expect writers to be moral?
  • From Joel Kotkin: “Trends in American and to some extent European mass culture are beginning to look almost Stalinesque in their uniformity.”
  • On the ridiculousness of M.F.A. programs.
  • What is France’s gilets jaunes movement really about?
  • DNA co-discoverer James Watson gets Watsoned for a second time.
  • Sorry to report that I didn’t love ancient DNA specialist David Reich’s new book. Tons of fascinating and up-to-date information, sure, but Reich and/or his editor is ‘way more fascinated by the geeky detective work that goes into scientific discovery than I am; where reading about fresh science goes, I’m more of a “just tell me what you think you now know” kinda guy. And Reich’s determination to wrap up his very un-PC findings in cheery PBS-style platitudes is more than a little ridiculous, however understandable in a “Please keep my funding coming!” way. If you want to sample Reich’s mind and info without committing to a long book, there are lots of presentations and speeches by him on YouTube.
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Wither the Yellow Vests?

Fenster writes:

The American press has had a herky-jerk relationship with the Yellow Vests.  The media avoided much mention of the protests when they first occurred, presumably banking on them fading away quickly.  Then, when it became apparent that coverage could no longer be fairly avoided, stories began to appear.

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More on Sokal Squared

Fenster writes:

You’ll recall the so-called Sokal Squared dust-up: three academics who were able to publish a series of outrageously fake articles in peer-reviewed critical studies journals.  Fenster wrote about it here when the story broke.

For many inside academe the hoax had the desired effect: it was seen as exposing not only the weaknesses in the peer review process but also the inanity of the critical studies field as a whole.  Unfortunately for some it also reverberated outside higher education, putting all of academe in a harsh light just at a very brittle time.

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Weekend Linkage

Paleo Retiree writes:

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Pinkerian Pollyannism?

Fenster writes:

Here in the Wall Street Journal we find more cheery optimism about the world.  This  could all be true.  It could possibly just be Pinkerian Pollyannism.  Or perhaps it is both.

As with disease, poverty is being eradicated not through technological miracles but basic rules of growth: Invest more in your human and physical capital, open yourself to markets and trade—that’s right, globalization is good—and incomes will rise.

This is the WSJ so it is no surprise that the happy measuring is mostly about money. And there the author has a point: even if a lot of wealth has been transferred from the US to the formerly developing countries things are inarguably better there, and worldwide measures built on economics will look good.

The author makes a small genuflect to things not going quite so well in the US:

(I)n the U.S., life is improving more slowly than in poorer countries, and in some places it is getting worse.

A small genuflect, too, to non-economic factors:

Money and well-being aren’t the same . . .

but this line is followed immediately by:

 . . .but Mr. Kharas and Mr. Hamel note that moving from poor to middle class does correspond to a big jump in happiness.

I would rather have the optimistic view be correct. But as with Pinker I sense a pleading quality to this kind of argument: “if you would only grasp how much better things are getting you would stop all that caterwauling”. Alas, I don’t think things work that way.

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Notes on “Roma”

Fabrizio del Wrongo writes:

In “Roma,” writer-director Alfonso Cuarón rationalizes chic aesthetic loop-the-loops by pretending to social consciousness. The movie concerns an indigenous maid who serves a white Mexican family. Though critics have compared it to Italian Neorealism, its canned “poetic” content suggests nothing so much as a coffee-table book on the picturesqueness of poverty. It’s difficult to determine whose tone-deafness is more embarrassing, Cuarón’s or the critics’: Both are so eager to find nobility in brownness that they fail to detect the whiffs of condescension emanating from Cuarón’s conception, in which the maid is repeatedly compared — favorably, I suppose — to the family dog. What to make of the weirdly numbed manner in which Yalitza Aparicio’s Cleo is presented? Cuarón provides her with few qualities aside from the doggy attributes of steadfastness and loyalty. The charitable take is to assume that Cuarón is attempting to approach Cleo from the outside, to appreciate her as an other without diminishing her by interpretation; this is how Kurosawa treats the native woodsman in the great “Dersu Uzala.” But Cuarón has little of Kurosawa’s intelligence or wariness; ultimately, he’s a splashy filmmaker who’s good at “dazzling” set-pieces and swooshy kinetic effects. Here, he allows these predilections to take precedence over his heroine; Aparicio is so mobbed by style, her performance scarcely has room to breathe. Trudging nobly through the movie’s sets and locations, blankly reflecting our preconceptions back at us (she has nothing else to give), Cleo starts to seem like a pretext for Cuarón’s painstaking recreation of his childhood Mexico. If there’s something gross about the way that Cuarón asks us to take his arted-up vanity project as a courageous social statement, there’s something even grosser about the way that the critics have encouraged us to flatter ourselves by condoning it. By accepting this dum-dum thing as art we’re supposed to prove that we care about the people who tend our lawns and scrub our bathrooms. I think it’s more accurate to say that we prove our willingness to use them as moral tchotchkes.

Related

  • While watching “Roma” I repeatedly recalled Suzana Amaral’s 1985 “Hour of the Star,” a movie of similar bent that actually bears comparison to things like “Umberto D” and “Nights of Cabiria.” These days, no one talks about “Hour of the Star.” I think it makes “Roma” look pretty silly.
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