Why? Because this is just too damn good…
You are welcome.
Yet in Guards, Guards, a reign of terror begins with attacks on small businesses driven by envy and resentment whipped up by a cynical politician. In later books, a conman redeemed through entrepreneurship becomes the hero who saves the day. It is the rich, human mess of the marketplace, under the rule of law, that his heroes strive to protect. Through Pratchett’s generous gaze we see not only the absurdities of a commercial civilisation, but also its abiding value.
– Sir Terry Pratchett, The Unadulterated Cat. Sadly Sir Terry never really got to know the meaning of ‘old age’ himself. I think he did know the meaning of fear when contemplating a particularly cruel death for a writer, but knew even better the meaning of courage. I would link to the famous “embuggerance” statement to illustrate this point but so many other people are doing that right now that it has melted the internet.
When I think of all the people the world would be a better place without…
… Sir Terry Pratchett was not one of them.
Translation? If you’re not left-wing, keep your mouth shut. What’s becoming clear is that under the false premise of making spaces “safe” for minorities, the only people whose safety is really becoming at risk is right-wingers and basically anyone who doesn’t wholly subscribe to the doctrine of political correctness.
NSFW by the way.
Crash OverRide Network is not an anti-harassment campaign. It cannot be an anti-harassment campaign as it is run by someone who profits and gains notoriety by openly harassing people online. An anti harassment campaign is one that works to prevent the harassment of everyone, whether you personally like them, whether you disagree with things they have done, or whether they share your political ideals. If Quinn really wished to prevent harassment online, she would stop perpetrating it. I will surely not be the last woman she tries to remove from our industry.
Of course the BBC, pretty much the worst tech reporters to be found anywhere, fail their due diligence as usual and just report it all at face value.
Yes, here’s another Happy New Year to everyone, this time from French National Treasure Jean-Paul Belmondo, snapped by me (in amazement at how he looked – I think I last saw him in Borsalino) straight off of French TV (no idea which channel), at or around midnight on Dec 31/Jan 1:
I thought Belmondo had died several years ago. After seeing him on TV, I still suspect that maybe he did die, and that the museum where they keep all the dead (human) French National Treasures has a highly sophisticated animatronics department.
If you’re not a Doctor Who fan it is probably best to look no further.
One of the lead stories on the UK national news today is a report that a hacking attack on Sony has led to a satirical film at the expense of the brutal regime about North Korea being pulled from Western cinemas:
It is hard not to see the decision by some cinemas to pull screening of the film as anything other than a dangerous capitulation to threats of violence, although one appreciates that the owners of the cinemas think they have a legitimate issue in protecting staff and audiences. But still, this sort of move is bound to encourage other criminals to target any film, of whatever stripe, that they dislike and wish to close down. A few years ago we had the Danish cartoon episode. So what next, one wonders? I wonder what would happen if someone in the West produced a film taking the piss out of the bare-chested leader of Russia?
Meanwhile, in a weird case of life imitating art, the hackers have also allegedly grabbed an early script of the newest James Bond movie. You almost wonder whether this is clever pre-publicity, but it appears this is not.
The moon is blue, so I shall defend a socialist prestige cultural project. East Germany had its shotputters, the USSR its grand masters of chess, Venezuela has “El Sistema” – a much lauded system of musical education. Now, however, there is a discordant note:
Corruption, mismanagement and nepotism in a socialist show project would astound me only by their absence. But authoritarianism is the norm when teaching children to play musical instruments the world over, and has been since forever. The exception is the namby-pamby modern Western middle classes, and not all of them. The common opinion of that portion of mankind that gives music lessons or pays for them is that you won’t be going anywhere until you have done your quota of scales, sweetums, and if your name is Wei or Xiuying, these days that quota is likely to be big.
Do not misunderstand me. I like namby pamby. I’ve been uncomfortable with compulsion in education for decades now, and if not convinced that it can be dispensed with altogether for the very youngest children, am certainly convinced that it can be phased out at a far younger age than most people think. In most contexts I am convinced that education without force is immeasurably better education.
But how do you get them to practise – or don’t you? Given that it takes unfailing hours of daily practice to make a great player, and that for most instruments the great players invariably start young, would the price of freeing children from the slavery of music practice be no more great classical musicians? If so, would it be worth it?
What to make of this?
My question “what to make of this?” is a real one. There is a whole slew of issues involved in this story, ranging from the double standard surrounding female-on-male rape (or allegations of rape), to the extent to which silence can be taken to be consent (particularly the absence of any appeal to bystanders when they were present), and including issues of fairness to the woman accused of rape and to the spectators implicitly accused of indifference to it, and the propriety of staging such an event “starring” a person whom all sides admit has mental issues, which leads us to the politically-charged question of how far one should question the testimony of one who is or may be mentally incapable . . .
Frustratingly, the Guardian story gives much more detail on LaBeouf’s philosophy of art than on what actually happened. A follow-up story quotes his collaborators in the art project as saying they “put a stop to it” as soon as they became aware of it. No mention is made of force being used; apparently she did stop when told to.
So why didn’t Mr LaBeouf say a word to stop her himself? As far as I can make out his reason was because the point of his performance was that he should sit still and not react. On its own, “I could not object because it would have spoiled my artwork” appears ridiculous. Yet people do sometimes freeze when subjected to sexual assault in a public place; it is a common reaction when women are groped on trains, for instance. Then again, what might the woman say in her own defence if these charges were put to her? Was not the whole point of this famous artwork that Mr LaBeouf consented to being humiliated? What did the spectators think was going on? If, as seems to have been the case, his artistic collaborators held that this was something to which a stop should be put, why was no attempt made to arrest the woman? In general I reject the blanket assumption that a person initiating sexual activity must obtain explicit and ongoing verbal assent before continuing. Such an assumption would only apply to creatures not human; the vast majority of all voluntary sexual intercourse takes place without anything remotely resembling such a procedure. But the vast majority of all sexual intercourse does not take place between strangers in public during performance art.
My bewilderment is genuine. All serious comments are welcome, and I would not be surprised to see serious disagreement among the comments. I do not expect to delete remotely as high a proportion of comments as the Guardian moderators did to the comments to the account in the link, but will not hesitate to delete any of which I disapprove.
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