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Ghost Dancing in the USA

3 May

Or, Why the Old Myths and Magic Don’t Work Anymore

I originally published this in Buffalo Report on 1 March 2005. It’s about the collapse of the symbol systems that made the nation a coherent political body. As such, it remains relevant.

In 1889 a young Paiute Indian named Wovoka fell ill with a fever and, in his delirium, visited heaven. While there he talked with God and saw that all the Indians who had died were now young and happy doing the things they had done before the White Man had come upon them. News of the new messiah spread rapidly among the remnants of the Indian tribes. If they danced the right dances, sang the right songs, and wore their consecrated Ghost Shirts, not only would they be immune to the White Man’s bullets, but their loved ones would return to them, the White Man would vanish from the face of the earth, and the buffalo would once again be plentiful. Their fervor and belief were not rewarded and the Ghost Dance, as this last wave of revivals came to be known, soon passed into history.

That, however, is not the Ghost Dancing that concerns me. I mention it only to provide some comparative perspective. Anthropologists and historians have told that story hundreds if not thousands of times. It is the story of a people’s last desperate attempt to retain symbolic control over their world. Such revivals occur when a way of life has become impossible, for whatever reason, but the people themselves continue to live. In desperation they resort to magic to remake the world in terms they understand.

The Ghost Dancing that concerns me is not that of Stone Age people displaced and conquered by iron-mongering and coal-burning industrialists. My concern is the Ghost Dancing that has become a major force in contemporary American cultural and political life. Widespread belief in the impending Rapture – when all good Christians will be taken to heaven and all unbelievers consigned to hell – is the most obvious manifestation of the contemporary Ghost Dance. But it is hardly the only manifestation. Refusal to accept evidence of global warning is another symptom, as is refusal to attend to ground intelligence in conducting the war and reconstruction in Iraq.

For that matter, belief that the so-called Singularity is at hand – when computers will surpass humans in intelligence – is Ghost Dancing as well. This type of Ghost Dancing may seem rather geekish and harmless, for there aren’t all that many of these particular believers. Belief in the Singularity, however, is close kin to continued belief in the feasibility of the Star Wars anti-missile defense systems, in the Pentagon’s desire to develop a highly robotized military where the machines do the riskiest jobs, and in a more general belief that technology will fix everything.

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Flowers R Us

16 Apr

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Why the Expressive Arts are Essential to the Transition

16 Apr

The expressive arts: music and dance, drawing and painting, calligraphy, sculpture, acting, needlecraft, architecture, and so on. Why they are essential: Because they bind us to one another and to the earth, they transform a place, a locus, into a home.

Before continuing down that path, however, let’s take a look back to the Romantics. It’s important to see how, for all their love of nature and of the expressive arts, they contributed to the ideologies that have ended up alienating us from Nature, and from the expressive arts.

It’s really quite simple. Back at the turn of the 18th into the 19th century, as the industrial revolution took hold, the Romantics venerated Nature, and opposed it to the City and to Industry. Industry was dirty, degrading, and alienating, keeping us from our True Home, nature. The trouble is, by so arguing, the Romantics placed Nature on a Pedestal, and put the Pedestal Over There Somewhere. The Romantics preserved nature by separating it from us. As more and more people moved into the cities, more and more people moved away from Nature. Nature became more and more alien, even as the Romantic Ideal became more and more alluring.

At the same time, the Romantics invested artistic expression in a class of rustics that lived Other There, in Nature, but also in an elite class of Geniuses who, while living among us, were not of us. Music and painting and poetry and dance became the provinces of those august geniuses, on the one hand, and women and children on the other. They were no longer capacities that each and everyone of us had and exercised. And those geniuses, they became the playthings of the industrial rich, perhaps railing against them, but ultimately tied to them as patrons.

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Who sustains the light?

11 Apr

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Standing Watch

10 Apr

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Art and Civil Society in Tokugawa Japan

6 Apr

With an extension to graffiti in late 20th Century

rainbow CEAZE in the industrial zone

I first published this in The Valve back in 2007 under the title “Tokugawa Blogging: Best of 2006.” I’m republishing it here because it relates to the role Transition Teams are playing in moving our societies to a new, more sustainable, and more human way of life.

Back in September of 2006 I was looking through the current issue of Science and saw a book review (requires subscription) entitled “Through Art to Association in Japanese Politics” by one Christena Turner. Given my interest in manga and anime, the title caught my attention. That Science was reviewing a book on such a topic, that really caught my attention. So I read the review, of Bonds of Civility: Aesthetic Networks and the Political Origins of Japanese Culture (Amazon.com) by Eiko Ekegami.

According to Turner, Eikegami argued that

Japanese sociability is characterized by an extensive repertoire of practices for handling the problem of how to interact with strangers. Somewhere between friends and enemies lies the domain of strangers. Somewhere between intimacy and danger lies the domain of civility. “The degree of ‘strangership’ may be an indication of the degree of civility in a given society,” she claims. Civility permits ordinary people to be confident in interactions with those of unknown or different backgrounds, making it possible to form social bonds in the absence of friendship or kinship.

This is important because modern democracies requires a civil realm where individuals can form voluntary associations “outside the realms of both the political institutions of the state and the intimate ties of the family.” Ikegami argued

that networks of people engaged in interactive artistic and cultural pursuits created the bonds of “civility without civil society” that prepared the population of pre-modern Japan for its strikingly rapid transformation into one of the first and most successful modern nations outside of the West. Art created politics when participation in aesthetic networks taught people technologies of association among strangers that eased the transition toward institutions of a modern political economy.

That had me hooked. Not only would this book serve as “deep background” for my interest in manga and anime – “deep” because it’s about a period, roughly 1600 to 1850, well before the emergence of those forms – but it also promised to be a volume that argued for the social value of art on an empirical basis, as opposed to asserting ideals. Since I’d already argued that it was music that made apes into humans, I was eager to read a more empirical, less speculative, argument broadly, if only loosely, consistent with that. Finally, it seemed that Ikegami’s argument might be generally useful in thinking about how social networks function in the larger society.

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Innocent Screams

1 Apr

By Komar, a graffiti artist working in northern New Jersey and who knows where else. This is under the 14th Street viaduct in Jersey City, where it supports thousands of cars a day from Manhattan, through the Holland Tunnel, to points West.

Innocent Screams - Komar

Never Give Up, Never Surrender

1 Apr

It's Only Grass

30 Mar

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“Our Friend the Atom” and He is Us

18 Mar

One idea that I’ve seen here and there in discussions of the nuclear emergency in Japan goes like this: “Why the coverage of the nukes? After all, thousands have already died from the earthquake and tsunami, 100s of thousands are homeless, and whole towns have been wiped away. All that damage far exceeds anything so far caused by those collapsed plants and any damage likely to be caused by them. Why not more coverage of the big story?”

The question, I believe, is a good one. And the answer, I suspect, goes like this: The earthquake and the tsunami were caused by Nature. We can take preventive measures, but we can’t predict or control them (though we’re working on prediction). Those atomic plants, however, they are Us. To say we can’t control them is to say that we can’t control ourselves. If we can’t control ourselves, are we any better than animals?

The issue of control is crucial. The difference between an atomic explosion and an atomic power plant is one of control: WE CONTROL what happens in the power plant. We can turn it on, turn it off, and make it go faster or slower. It does our bidding. Of course, it also creates dangerous radiation, which we must control. If we don’t, the radiation causes disease, cancer, mutations, strange unnatural beings, monsters (Gojira).

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