We are developing the social individualist meta-context for the future. From the very serious to the extremely frivolous... lets see what is on the mind of the Samizdata people.

Samizdata, derived from Samizdat /n. - a system of clandestine publication of banned literature in the USSR [Russ.,= self-publishing house]

Merry Christmas from Belfast

Beflast City Hall Bazaar
City Hall Christmas bazaar.
Photo: copyright Dale Amon, All Rights Reserved

Disastrous entertainment

I love the Larry Niven and Jerry Pournelle book, Lucifer’s Hammer, which is in my view the best “disaster book” every written.

What is your favourite disaster movie/book?

Nifty photographs for Friday

Check out this site for some superb photographs.

I was going to think of something profound to say about the news headlines, but every time I read the words “Gordon Brown” these days, a small part of me dies.

A Bit More News for Gordon Brown and his party

Last night I watched Have I Got a Bit More News for You?, which is the extended Saturday night version of the BBC’s popular current affairs and comedy quizz show. Something interesting was said, and even more interestingly, not contradicted. HIGN4Y regular Ian Hislop was commenting on the Mini- Pre- Budget that isn’t really a Budget, but really is. He said that the country had got into terrible trouble because of everyone borrowing too much money. And the government’s answer is that the government is going to borrow lots more money. General derision, and no contradictions from anybody. I don’t know what Germaine Greer’s economic policy prejudices are, but going by her other opinions, I thought maybe she might make some attempt to defend the government’s economic policy, if only by quickly changing the subject. No. Nothing like that.

Come to think of it, I have all this on my telly hard disc. Bear with me. Yes, here we go:

Hislop: “It’s a whole package of measures to save us all! We’ve got into terrible trouble for years by excess borrowing, so we’re going to … borrow!!!!!” Derisive hand gesture. Derisive laughter from studio audience. “That’s it, that’s the whole report.”

Young Comedian sitting next to Hislop: “Isn’t it that we’re going to be a trillion pounds in debt, after this?”

Hislop: “Yes.”

Young Comedian: “That is an awful lot … If you bring up your bank balance and it says that, you’ll feel pretty crushed, I think.”

Hislop: “It’s bad, isn’t it?”

Young Comedian: “I don’t know how I’m going to make that back, Ian.”

Hislop: “Well, you’re young enough that you will have to make it back. We’ll all be dead.”

Young Comedian: “I suppose so. I thought no one else looked as worried about it as I was. What was Damien Hirst doing in the middle of that?”

Damien Hirst has been laying off art workers. When the silly price of silly art slumps, you know the economy is tanking. Later, they had a reference to the fact that the bail-out is costing us twice what World War 1 cost us. Paul Merton said that this won’t be over by Christmas either, to general laughter. And, as I say, not a peep out of Germaine G about this catastrophe.

The central point is this. We borrowed far too much – Now the government says we must borrow far too much more thereby making our children and grandchildren into tax serfs – How idiotic is that? This is fast becoming the Grand Narrative here. If so, and given that the Conservatives are saying this too, that Labour melt-down is becoming a real possibility.

Shooting vampires with a Fig-Rig

Today I am going to do duty as a background extra in a short vampire movie that a friend of mine is starring in. I am to be one of a number of diners in a restaurant. I won’t be paid but I will be fed, and I already know that it’s a very good restaurant because I’ve already been there before.

Today I got a look at the email sent out by the production to all whom it concerned, about today’s activities. This was, for me, a glimpse into a whole new world of complexity and managerial drive. Here, just as a tiny for-instance (there are three whole pages of stuff like this), is a list of the kit that will be used by the DOP/Grip/Lighting Department:

2 X Sony EX1 (with S XS cards) – 1X Intel Mac Book – 1X S XS card reader & firewire cable – 500GB EXT HD (or equivalent space for backup) – 1X Letus Ultimate Adapter & photographic lenses – 6 X Prime Lenses & PL Adaptor – 1X Manfrotto Tripod – 1X 32in LCD TC & Composite leads – 1X Steadicam Junior – 1X Manfrotto Fig-Rig – 1X 8in Camera Monitor with composite leads – 1X 25m BNC cable drum – 1X Mini-Jib with Tripod & Fluid Head – 2X Paglights and battery packs – 3X Redheads with stands, diffuser/gel kit – 1X Set of 3 dedo lights with stands – 1X 2ft 4-bar Kino-flo with stand – 1X 200W Handheld MSR lamp – Reflectors, gels, diffusers, clips and stands – Blacking for windows

I am looking forward greatly to seeing what this all looks like in practice. I suspect that, in reality, it won’t amount to very much at all.

My favourite is the “Manfrotto Fig-Rig”. Time was, when faced with a splendid name like that, you just read and wondered. What kind of Rig would that be? And why “Fig”? But this is the age of the internet, and I can immediately tell you the answer:

From initial conception to finished product, Manfrotto worked alongside director Mike Figgis, whose films include Leaving Las Vegas and Cold Creek Manor, to develop a hand held DV camera support system that offers the shake-free stability of a tripod with the framing flexibility of handheld shooting. A circular frame with a crossbar to mount most mini DV cameras, the FigRig mn595 becomes part of the body to produce smooth, steady travelling shots. It is this very fact which is the secret to the Fig Rig. As the operator walks, his/her muscles and tendons absorb all the shocks, transferring only fluid movements to the camera. As there are no straps or harnesses attached to the Fig Rig, quick and wide movements can be made within the same shot from ground-level to overhead, in one smooth movement. The camera, accessories and operator become one, allowing you to film scenes quickly and unobtrusively.

So hats off to Manfrotto, and it is called “Fig” after Figgis.

FigRig.jpg

This piece of kit costs around £150 quid. I still don’t quite get how it works, but here’s hoping that I find out.

The Libertarian’s Song

by Liberty Fitz-Claridge

I am the very model of a modern libertarian;
I’m at the Diamond’s farthest corner from ‘Authoritarian’.
I’m of the view, in short, that we should do away with all the laws,
Except the ones that thwart the sort who’d harm or take my things by force.

The socialists demand that we ought really to redistribute
The money made by businessmen to help support the destitute.
But those of us who set less store by looting than by Liberty
Would say a man’s well-being is his own responsibility!

Would say a man’s well-being is his own responsibility,
Would say a man’s well-being is his own responsibility,
Would say a man’s well-being is his own responsibili-bili-ty!

Ideas which stem from this include that school is not compulsory.
When older, children may attend free-market university.
In short, it is the opposite of life totalitarian,
With free adults and children in a climate libertarian.

In short, it is the opposite of life totalitarian,
With free adults and children in a climate libertarian.

The hoi polloi have rolled their eyes and left us to obscurity,
Since fans of David Friedman cry, “The state, the state is after me.”
Indeed, there are among us those who dream of a utopia.
For this they are thought madmen, though it’s only hyperopia.

We liberals won’t rest until all state-run works are privatised;
From ports to courts, from wealth to health, we want the state to be downsized.
These things are not done well by even loving, caring government;
It loves us at our own expense – and what when all that love is spent?

It loves us at our own expense – and what when all that love is spent?
It loves us at our own expense – and what when all that love is spent?
It loves us at our own expense – and what when all that love-is love-is spent?

And surely no one’s worthy of the job of politician
Who does not see the value of untrammelled competition.
In short, you should repudiate the crude authoritarian
And study to become a far superior libertarian.

In short, I should repudiate the crude authoritarian
And study to become a far superior libertarian.

When I have read von Mises’ massive tomes from end to end firsthand;
When I’ve the nerve to voice in English classes that I like Ayn Rand;
When I have studied economics and gone earnestly to FEE;
When I have learnt what progress has been made in private law theory …

When I’ve read Hayek, Mill and Smith, my expertise evincible;
And when I know exactly what is meant by ‘homestead principle’;
In short, when I know politics and all the right philosophy,
You’ll say a better libertarian there never was than me.

You’ll say a better libertarian there never was than she,
You’ll say a better libertarian there never was than she,
You’ll say a better libertarian there never was-than was-than she!

Though mainstream folk are loath to recognize or even tolerate
These vital, timeless principles that libertarians venerate,
And though the ignorant consensus is authoritarian,
I am the very model of a modern libertarian.

And though the ignorant consensus is authoritarian,
She is the very model of a modern libertarian.

Open goal (for a quick-off-the-mark blogger)

The Sunday Times today reports that certain celebrity TV license fee refuseniks are not being harassed, on account of being too famous and too keen on getting the splurge of publicity that they would get if arrested, taken away in chains, thrown into a government dungeon, etc.. Vladimir Bukovsky, noted dissident against an earlier evil empire, thinks the BBC is too biased. Charles Moore doesn’t like Jonathan Ross.

Noel Edmonds thinks the TV licence televised threats are too threatening. Personally I don’t see how those threatening ‘adverts’ could do their job if they were not threatening. After all, their purpose is to threaten. If, instead of threatening, and as Edmonds would apparently prefer, they emphasised what very good value the BBC is, and then only slipped in as afterthought that, oh-by-the-way just-thought-we’d-mention-it, you have to pay the license fee whether you agree with all that or not, this would be at least as obnoxious. The threatening messages Edmonds objects to at least tell the story as it is. But, he doesn’t like them, and objects to being made to pay the license fee. Fair enough. He shouldn’t have to, no matter how unreasonable his objections may seem to others. And nor should anyone else, whatever their disagreements with the BBC may be.

Meanwhile, guilty but too famous is an interesting verdict, nicely calculated to elicit contrasting reactions. On the one hand, one law for the famous and another for the rest, and that’s bad. But, at least someone is making this point, and at least some of those doing this are not just getting away with it, but willing to say so in public. I am sure that we all await the BBC’s response to this public defiance with great interest.

If the BBC does nothing, then here, surely is a great opportunity for people not just to get more famous, but to get famous from a starting point of more or less complete obscurity. It will not have escaped the attention of obcurities thinking along these lines that one of the refuseniks the Sunday Times reports on is a UKIP guy by the name of John Kelly whom you have probably never heard of in any other connection.

In particular, here is a great opportunity for a blogger. All it needs is for one of our tribe to say, there, I am still watching my telly, but have not paid the license fee, and screw you BBC, and get his mates around to video everything that then ensues, and for the rest of us to link to all the hoopla and make sure that Instapundit and Guido link to it also (the latter being a certainty because it was at Guido that I learned of this Sunday Times piece in the first place), etc. etc., and, well, … there is surely a big slice of anti-authoritarian pro-libertarian anti-nationalised-industry fun to be had here.

Personally I like the BBC and feel that I get rather good value from it, much as people on the dole (at my expense) and bankers whose jobs have just been saved (ditto) must likewise feel satisfied. I like the classical music. I also like to copy telly movies onto DVDs and much prefer the BBC’s output, because it is so much easier not to have to edit out all those annoying adverts. I even like Jonathan Ross. I regard his regular outbursts of rudeness as the price we who like him must all pay (and people like the unfortunate Gwyneth Paltrow especially) for the sake of the less tasteless and more interesting conversations that his wacky/rude style also precipitates.

I do not think that there is much future in the notion that the BBC might one day become less biased. It is a nationalised industry. Only those who favour or at least tolerate that are likely to apply to work for it in any numbers. And those who do not fit that mold but who do show up in the BBC’s output are more likely to be caricatures of pro-capitalism than the real thing. No, the only answer is to dump the whole principle of compulsory payment for telly, and in the meantime for all who despise that principle to stir up as much trouble around it as we can. And here is a fine chance to do that.

Trying just a bit too hard

Well, I reviewed the previous effort by Daniel Craig, so here we go with the next instalment: Quantum of Solace, with Daniel Craig in his second outing as Ian Fleming’s hero. It is the 22nd film in the series, which is quite something in itself, when you think about it. I went to see the film with pretty high expectations after what I thought was a great debut by Craig in Casino Royale.

Quantum of Solace – which has absolutely nothing to do with the short story Fleming wrote in a collection – is a sequel to the first Craig film. Having been betrayed and left heartbroken by the death of Vesper Lynd, 007 goes after the organisation that is behind the death of Lynd. We are led on a series of furious chases and action scenes in Italy, the Caribbean and Latin America. The direction of the movie is handled at an incredibly high tempo, much in the manner of the Bourne films starring Matt Damon. (Poor Matt, I haven’t been able to think of him in the same way again since watching Team America: World Police).

This is a very violent film. Craig did several of the stunts himself and got quite badly hurt in some of them. If you want lots of fight scenes, with minimal dialogue and no gags, this is for you. The problem, is that I think that Craig and his directors are trying far, far too hard to react against what they rightly regarded as s the foppish versions of Bond served up by the likes of Roger Moore or Pierce Brosnan. QoS is a still a good film but it could have been much better with a bit more variation of pace, and a bit more opportunity for Craig to show how 007 is developing as an agent and as a person.

Supporting actors are generally good, if not as strong as in Casino. I like the chap who plays Felix Leiter, who is not the character of the books but I reckon is going to be a regular feature of future Bond films. Judy Dench is wonderful as M; in fact she holds much of the film together. But the other women in the film are not very strong characters and not a patch on Green’s Vesper.

I will give this film seven marks out of a possible 10. I would give Casino Royale 9 stars. The Bond franchise has definitely been rebooted by Craig, but the film-makers must not turn Bond into a humourless brute. The character created all those years ago was a tough bastard all right, but he was a bit more than that.

The modern art of outrageousness (but also of other things)

I have started reading The $12 Million Stuffed Shark by economist Don Thompson, and it mentions (on page 11 of my 2008 hardback edition) an episode I vaguely remember:

In 2003 a 25-year-old student named Clinton Boisvert at the School of Visual Arts in New York was asked to produce a sculpture project showing how the emotion elicited by art could impact on life. Boisvert created three dozen black boxes each stenciled with the word “Fear.” He had just finished hiding the last of these in New York City subway stations when he was arrested. A dozen stations were shut down for several hours while police squads retrieved the sculptures. Boisvert was convicted of reckless endangerment, but received an “A” for the project.

I googled this Boisvert character, but found nothing else except this one episode. I guess there is bourgeois respectability, in the form of lots of things that the imaginary bourgeoisie are imagined still to take seriously and to get outraged about, which art has traded on by treading on for over a century. And then there is actual respectability, the outraging of which causes the actual bourgeoisie – the sort that likes, exhibits in galleries, and buys contemporary art rather than being outraged by it – to want nothing to do with you on account of you being just too much trouble.

More generally, I am reading the book quoted above because I find myself wanting to know more about the phenomenon of Modern Art/Contemporary Art (Thompson says Modern is before 1970 and Contemporary is after 1970). My first thought is that what caused and causes Modern Art etc. – what is Modern art – is complicated, and that there is no one thing that can explain it or describe it properly. See my cascade of self-commenting here, which was where I first blogged about Thompson’s book. The rise of photography and then of the cinema and television, the rise of and nature of the modern news media, the demoralisation afflicting European culture as a result of the World Wars, WW1 in particular, the Baby Boom and its serial obsessions, lots of new money, etc. etc. etc. … there are many reasons why the visual arts in the twentieth century and since have turned out the way they have. The temptation to reduce Modern Art and all its works to one particular sort of annoyingness – modern art is nothing but … !! – is, well, very tempting. But such temptation should be resisted, because whichever single cause you choose is just not going to be the whole story.

It would not be true, for instance, to say that Contemporary Art, or Modern Art, is only about winding people up and getting lots of outraged publicity, although of course that definitely is part of the story. But, all comments on the above ruminations will be most welcome to me, even foolishly reductive single cause comments, but citing single causes which I had not thought about before.

Just now, my personal favourite contributory cause of Modern/Contemporary Art (because so often neglected in amongst all the complaints about dead sharks) is the demand for quiet spaces which one may visit without being bombarded with multiple advertising messages and reminders of one’s disappointing place in the rat race, and where one may consort with other rats who likewise don’t like to be reminded of their insufficiently ratlike ratness all the time, for example by portraits of self-important rat race winners of the past. But all this without having to doff one’s cap to a religion that one does not believe in. If that’s your problem, an art gallery adorned with blank canvasses, or canvasses consisting of big coloured rectangular blobs, could be just what you want. Which means that the very same art objects which outrage some with their meaninglessness can simultaneously soothe others, with that very same meaninglessness.

Piggy in the market

Lower Marsh, just beyond Waterloo Station from me, is one of my favourite London streets. It has carts loaded up with goodies from vans, and amongst these goodies are classical CDs sold by a bloke called Neil. A few yards due west from where Neil plies his trade, there is Gramex, a regular shop, which also sells an abundance of classical CDs. These CDs cost far less than downloads from the internet, and unlike downloads they are things, which I prefer. When you drop a Wagner opera on CD on your foot, it hurts. That’s what I call real value.

Anyway, yesterday, in the autumn sunshine (finally!) I came across this, which surely says something profound about the current state of the financial markets, although I am not sure quite what:

PiggyBankWithWingsS.jpg

There was another one next to it, the same only black. These pigs are quite big and very solid, made of cast iron I suspect. Don’t drop one of them on your foot. They were going yesterday for a tenner each. Hurry while stocks last.

More banking and piggy banking photos by me here, and further market speculations here. The smiling china pigs are currently on show in the window of a fancy goods (I think they call such places) shop in Strutton Ground, another market street in my part of London, just off Victoria Street.

For some further commentary on what things cost these days, try this very Dail Mail piece by Robert Hughes. Hughes ought to realise that ‘artists’ these days are like small and badly behaved children. The more you complain, the happier they are, because what they crave most is attention.

The Tudors – the BBC’s not-so-historical drama

The BBC is running a television series called The Tudors, I believe that the show is in its second series. They seem to think that the Tudor dynasty started with Henry VIII as there were no episodes on his father Henry VII, and the show still seems to be stuck on Henry VIII. Indeed his second wife, Ann Boleyn, has not even been executed yet – sorry if this is a ‘spoiler’ to people who think the fate of Ann is a cliff hanger.

“Sneer as much as you like about how slow paced this series is,” I hear you say, “the BBC is concentrating on telling the story correctly”.

Really?

Today I channel hopped and came upon the point in the show where the actor playing Thomas Cromwell was introducing a new invention – a secret weapon that would win the propaganda war with the Roman Catholics. The printing press (spoken with special stress) – introduced to the show with cries of “by God, what is that?”, and other such, from the actors.

Sadly the printing press was introduced to England during the reign of Edward IV – some sixty years before the time the scene was set, so everyone would have known exactly what a printing press was.

The excuse for the special tax that funds the BBC is that the organization ‘educates’ the population. This excuse just does not stand up.

Alexander Solzhenitsyn’s war of words against the USSR

We have of course already alluded here to the passing of Alexander Solzhenitsyn. Here is another tribute to this great man, from Theodore Dalrymple twelve days ago, which I think is spot on:

Contrary to popular belief, Alexander Solzhenitsyn, who died last week at 89, told the world nothing that it did not already know, or could not already have known, about the Soviet Union and the Communist system. Information about their true nature was available from the very first, including photographic evidence of massacre and famine. Bertrand Russell, no apologist of conservatism, spotted Lenin’s appalling inhumanity and its consequences for Russia and humanity as early as 1920. The problem was that this information was not believed; or if believed, it was explained away and rendered innocuous by various mental subterfuges, such as false comparison with others’ misdeeds, historical rationalizations, reference to the supposed grandeur of the social ideals behind the apparent horrors, and so forth. Anything other than admission of the obvious.

Solzhenitsyn’s achievement was to render such illusion about the Soviet Union impossible, even for its most die-hard defenders: he made illusion not merely stupid but wicked. With a mixture of literary talent, iron integrity, bravery, and determination of a kind very rarely encountered, he made it impossible to deny the world-historical scale of the Soviet evil. After Solzhenitsyn, not to recognize Soviet Communism for what it was and what it had always been was to join those who denied that the earth was round or who believed in abduction by aliens. Because of his clear-sightedness about Lenin’s true nature, it was no longer permissible for intellectuals who had been pro-Soviet to hide behind the myth that Stalin perverted the noble ideal that Lenin had started to put into practice. Lenin was, if such a thing be possible, more of a monster than Stalin, not so much inhumane as anti-human. Solzhenitsyn was always uncompromising – and, of course, quite right – on this point: no Lenin, no Stalin. Insofar as Solzhenitsyn finally destroyed the possibility in the West of intellectual sympathy for the Soviet Union (which inhibited the prosecution of the Cold War), he helped bring about the demise of the revolutionary, ideological state, and for that he will be remembered as long as history is written.

But I suspect that this may also be right:

The problem for Solzhenitsyn’s literary reputation is that the subjects his books address no longer seem so compelling to younger readers. Astonishing as it may seem to people who lived through the time when Solzhenitsyn appeared as a colossus, many people younger than 30 – not only in America and Western Europe but in Russia itself – have never heard of him or do not know what he did. Of course, literary reputations wax and wane; but his disappearance from the consciousness of young people at least raises the question of whether his achievement was more political and moral than literary.

Ever since I read A Day in the Life of Ivan Denisovich (out loud on the University of Essex radio station as it transpired), I always had Solzhenitsyn clocked as: Great Writer? – not sure; propagandist – all time great. In this respect, I particular recommend his memoir called The Oak and the Calf, which is about how he did his propagandising, which was all mixed up with how he managed to keep himself alive to go on propagandising, which was a mighty achievement in itself under the murderous circumstances that he described and publicised so well.

Quite aside from the fact that I don’t read Russian, this judgement of mine surely has much to do with the fact that I have no very definite idea what a great writer is in any language (although I know very approximately what I like) and am myself scarcely a published writer at all. I’m not saying he was a great writer of literary fiction, and I’m not saying he wasn’t. On the other hand, I know quite a lot about propaganda and have myself done it with some glimmerings of success. In rather the same way that if you actually play football in some very lowly division you are an order of magnitude better than I am at knowing just how good Pele was or Ronaldo is, I can tell you that Solzhenitsyn was, when it came to spreading ideas, awesomely good, and that this was no accident. He brought skills like those of a chess grandmaster to the ideological struggle between him (and all his Samizdat allies) and the USSR. and his industry and attention to detail (to say nothing of his sheer courage) was extraordinary. The notion that he won his ideological battle without any hard graft besides the hard graft of just writing it down in some isolated dacha is quite wrong. He was the spokesman for an entire generation of other writers and record keepers. He was the leader of an entire underground movement. He created a fact-shifting machine as surely as any Western press magnate. He quite consciously set himself the task of destroying the USSR using only the power of the written and published word, and more than any other man – with the possible exception of Ronald Reagan, who also had the awesome military clout of the USA at his disposal – he succeeded.

Not that Solzhenitsyn was himself indifferent to or ignorant of military affairs. Towards the end of his life he wrote several novels about the First World War. He was in the artillery before being swallowed up by the monster that he named the Gulag, and he thought of all the truths that he gathered about the Gulag as ammunition, and the publishing of them as the launching of artillery barrages. If Dalrymple is right, it will be for the war of words that Solzhenitsyn conducted against the USSR, and for the fact that it succeeded so brilliantly, that he will be most admiringly remembered. But now that he is gone, fresh looks will surely be taken from the purely literary point of view at Solzhenitsyn’s achievement, and posterity may arrive, as Dalrymple says, at a somewhat different conclusion.