Podcasts about Primitivism

Though not yet the Dantesque hells that they are today, airports in 1954 were already places of union, separation, and general existential anxiety. This meditation comes from a serious and sphinx-like Winters at the height of his poetic development–though not yet at his own “terminal,” here he is a man who already has plenty to look back on. Happy reading.(Arthur) Yvor Winters was born in Chicago on October 17, 1900. While studying at the University of Chicago he was diagnosed with tuberculosis and decided to relocate to Santa Fe, New Mexico, for the sake of his health. His early poems, published in 1921 and 1922, were all written at a tuberculosis sanitarium. He enrolled at the University of Colorado in 1925, where he earned his bachelor's and master's degrees. In 1926, he married the poet and novelist Janet Lewis. He spent two years teaching at the University of Idaho in Moscow before entering Stanford University as a graduate student, receiving his PhD in 1934. From 1928 until his death, he was a member of Stanford's English department.Winters's books of poetry include The Early Poems of Yvor Winters, 1920–1928(Swallow Press, 1966); Collected Poems (1952; revised edition, 1960), winner of the Bollingen Prize; Poems (Gyroscope Press, 1940); Before Disaster (Tryon Pamphlets, 1934); The Proof (Coward-McCann, Inc., 1930); and The Immobile Wind (M. Wheeler, 1921). In Defense of Reason (Swallow Press, 1947), Winters's major critical work, is a collection of three earlier studies: The Anatomy of Nonsense (New Directions, 1943); Maule's Curse (New Directions, 1938); and Primitivism and Decadence (Arrow Editions, 1937).Winters was also a prolific and controversial critic who believed that a work of art should be “an act of moral judgement” and attacked such literary icons as T. S. Eliot and Henry James. The chair of the Stanford English department notoriously denounced Winters as a “disgrace to the department.”Winters's honors include a National Institute of Arts and Letters award as well as grants from the Guggenheim Foundation and the National Endowment for the Arts. He died on January 25, 1968, in Palo Alto, California.-bio via Academy of American Poets This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Arnold talks with David of Feun Foo Permaculture and Rewiliding and An Animist's Ramblings. An anarcho-primitivist, David has been making a case for expanding the cultures this political tendency uses as models for life outside civilization. Feun Foo is an experiment in adapting, to the modern context, practices of small-scale, forest-dwelling cultivation which have enabled a great diversity of societies—from highland Southeast Asia to the Amazon—to live in ecological equilibrium. An Animist's Ramblings is a blog which, among other things, advocates for taking political lessons from small-scale horticulturalists and delayed-return hunter-gatherers.  Primitivism has often faltered for its lack of clear answers to the question: “knowing what we know, how should we live?” David is helping to guide these politics into a more applied, experimental, and fluid manifestation. We speak of the multi-dimensional nature of domestication; the awe-inspiring visits of elephants to Feun Foo; the personality variation of chickens; the strange and varied diet one ends up adopting subsisting off the land; and the need for a unified sense of identity among those who have rejected the mechanistic worldview, regardless of precisely how that identity manifests politically. 

Curator Dorothy Price outlines the figures of Claudette Johnson, a founder member of the Black British Art Movement (Blk Art Group), and one of the first ‘post-colonials' practicing in Wolverhampton, Birmingham, and the Midlands from the 1980s to now. Ever so-slightly-larger than-life, Claudette Johnson's drawings of Black figures reflect the status of their artist. A founding member of the Black British Arts Movement or BLK Art Group in the 1980s, she was a leading figure in a politically-charged creative community - called the first ‘post-colonials' by Stuart Hall, for being born and raised in Britain. Johnson worked closely with fellow ‘post-Windrush' contemporaries include Eddie Chambers and Keith Piper, Ingrid Pollard and Maud Sulter, Marlene Smith and Lubaina Himid - but her work has been relatively underrepresented. As the artist's first public monographic exhibition opens in London, curator Dorothy Price talks about her practice in the Wolverhampton Young Black Artists Group - which predated the YBAs - and formative speech in the First National Black Arts Conference in 1982. Dorothy shares personal insights from the groundbreaking ICA exhibition, The Thin Black Line, and Claudette's complex position as a Black European artist of African and Caribbean descent. Drawing on the Courtauld's permanent collection, we see the artist's work with African masks, sculptures, and conventional representations of Black women, challenging the colonial foundations of Western European modernism, and reappropriating the ‘Primitivism' of the likes of Pablo Picasso and Paul Gauguin to state her place in art history. We also discuss her contemporary practice, and how the history of the Black British Arts Movement can decentre the contemporary ‘Brixtonisation' of the singular Black experience, drawing attention to cities in Wolverhampton, Birmingham, and the Midlands. Claudette Johnson: Presence runs at the Courtauld Gallery in London until 14 January 2023. For more, you can read my article. For more about Keith Piper, hear curators Jake Subryan Richards and Vicky Avery on Black Atlantic: Power, People, Resistance (2023) at the Fitzwilliam Museum on EMPIRE LINES: pod.link/1533637675/episode/a5271ae2bc8c85116db581918412eda2 For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about the ‘Brixtonisation' of the Black British experience, listen to artist Johny Pitts on Home is Not A Place (2021-Now) at The Photographers' Gallery on EMPIRE LINES: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 For more on Hurvin Anderson, hear Hepworth Wakefield curator Isabella Maidment on his Barbershop (2006-2023) series on EMPIRE LINES: pod.link/1533637675/episode/5cfb7ddb525098a8e8da837fcace8068 Recommended reading: On Lubaina Himid: gowithyamo.com/blog/the-revolutionary-act-of-walking-in-the-city On Maud Sulter: gowithyamo.com/blog/reclaiming-visual-culture-black-venus-at-somerset-house On Sonia Boyce: gowithyamo.com/blog/feeling-her-way-sonia-boyces-noisy-exhibition On Life Between Islands at Tate Britain: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain/ WITH: Professor Dorothy Price, Professor of Modern and Contemporary Art and Critical Race Art History at The Courtauld, London. She is also Editor of Art History, journal of the Association for Art History, and founder of the Tate/Paul Mellon Centre's British Art Network subgroup on Black British Art. Dorothy is the co-curator of Presence. ART: ‘And I Have My Own Business in This Skin, Claudette Johnson (1982)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Today's guest is the delightful Joy Porter. Joy is Professor of Indigenous and Environmental History at the University of Hull. She is a principal investigator of the Treatied Spaces Research Group and a Leverhulme Major Research Fellow. Joy is also the principal investigator for the Arts and Humanities Research Council's project "Brightening the Covenant Chain: Revealing Cultures of Diplomacy Between the Iroquois and the British Crown." Joy was a Fulbright Scholar at Dartmouth College and has also held visiting professorships at Paris Diderot University and The Clinton Institute, Dublin. She started her career as a Senior Lecturer at Anglia Ruskin University, and she also spent eight years as a Senior Lecturer and Associate Dean at Swansea University. Joy was educated at the University of Nottingham, where she received her MA and PhD. Joy has more than 38 publications to her credit, including her fascinating recent monograph Trauma, Primitivism, and the First World War: The Making of Frank Prewett (Bloomsbury). Her other monographs include Native American Environmentalism (Nebraska), Native American Indian Freemasonry: Associationalism & Performance in America, (Nebraska) and To Be Indian: The Life of Seneca-Iroquois Arthur Caswell Parker (Oklahoma), which won a Choice Outstanding Academic Title Award. Joy also won the 2006 Writer of the Year Award from the Wordcraft Circle of Native Writers for the Cambridge Companion to Native American Literature. Her forthcoming book is titled Canada's Green Challenge (McGill-Queen's). Joy is a lead editor of the Cambridge University Press book series, Elements in Indigenous Environmental Research. She is also a Senior Fellow of the Higher Education Academy and a National Teaching Fellow. Join us for a fun, quirky, and very interesting chat with Joy Porter. We'll talk growing up in Derry during The Troubles, interdisciplinary approaches to military history, the compulsion to write, John Prine, soldier trauma in the First World War, and fish tacos, among other topics! Shoutout to Deckhand Dave's in Juneau, Alaska! Rec.: 09/08/2023

::pocket computer pings:: Greetings siblings! Your favorite It and They are coming back to town and we know what you need. WHOLESOMECORE! We got your quirky robit questions, your quaint little inlets, your wicked hot space blacksmiths. Oh yeah, and we got anarcho-primitivists trying to tell us exactly how much of anything to have. So pull up a cushion, grab your favorite tea, and learn to accept that a meaningless life is just as good as a meaningful one. A Prayer for the Crown-Shy: https://us.macmillan.com/books/9781250236234/aprayerforthecrownshy Listener Survey: https://rutgers.ca1.qualtrics.com/jfe/form/SV_8ih4oa8ZSUaT0Cq Music by Thomas Smith: https://seriouspod.com/ Support us at Patreon: https://www.patreon.com/0G Follow us on Twitter: https://twitter.com/0gPhilosophy Join our Facebook discussion group (make sure to answer the questions to join): https://www.facebook.com/groups/985828008244018/ Email us at: philosophersinspace@gmail.com If you have time, please write us a review on iTunes. It really really helps. Please and thank you! Sibling shows: Queersplaining: https://www.queersplaining.com/ Embrace the Void: https://voidpod.com/ Recent appearances: Aaron and Callie were recently on The Psychology Podcast to discuss all things trans. Check it out and share it around, we really did try to cover alllllll the bases: https://scottbarrykaufman.com/podcast/aaron-rabinowitz-callie-wright-what-we-get-wrong-about-transgender-people/ Content Preview: A Prayer for the Crown Shy and the Meaning Crisis pt.2

 26: Female cultural equality = male DATING INEQUALITY. Female cultural inequality = male dating equality. Human nature says that you can‘t have it both ways.  27: KEEP HER GUESSING, KEEP HER GEYSERING  28: When civilization confronts primitivism, the latter will eventually corrupt and overrun the former absent a will among the civilized people to temporarily DISCARD THEIR CIVILIZED NORMS to save themselves from the primordial infestation.  29: Whenever you're at a loss for what to say to a girl you like, imagine you're a man IN BED WITH THREE BEAUTIFUL WOMEN. Then say what that man would say.

What's the difference between Indigenous Shamanism and Western Neo Shamanism? The 5 main traits of trans-cultural shamanisms as practised in the Western World! CONNECT & SUPPORT

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Miles is joined by Carole Sweeney (Goldsmiths University, London) and Joe Darlington (Futureworks Media, Manchester) to discuss a range of authors who emerged post-World War 2, inspired by the works of the high modernists and the French Nouveau Roman. They were writing at the same time as Murdoch, but in very different modes and genres. Do they even form a real grouping? Authors discussed, or mentioned, include: Brigid Brophy, Anthony Burgess, Christine Brooke-Rose, Angela Carter, Eva Figes, B.S. Johnson, Anna Kavan, Ann Quin, Muriel Spark, as well as those in their circles, and those who published them. Joseph Darlington is the author of The Experimentalists (Bloomsbury, 2021), as well as Christine Brooke-Rose and Post-War Literature (Palgrave, 2021), and British Terrorist Novels of the 1970s (Palgrave, 2018). He was editor of BSJ: The B.S. Johnson Journal and now co-edits the Manchester Review of Books. https://www.bloomsbury.com/uk/experimentalists-9781350244405/ https://www.waterstones.com/book/christine-brooke-rose-and-post-war-literature/joseph-darlington/9783030759056 Carole Sweeney is Reader in English Literature and Goldsmith University, London and focuses on the intersections of race, class, sexualities and gender in modern and contemporary literature and culture. Her first book, From Fetish to Subject: Race, Modernism and Primitivism, examined how the colonial iconography of the black body was deployed in cultural modernism and how anti-colonial and decolonising cultural movements emerged in opposition to this aesthetic racialisation. She followed up this work by publishing widely on Francophone-African writing, in particular by women writers and then by examining racism, anti-feminism and misogyny in contemporary fiction. Her most recent book Vagabond Fictions: Gender and Experiment in British Women's Literature 1945-1970 examines the evolution of feminism and sexual identity in post-war Britain. Carole's current research project is on the continuing battleground for women's bodies and sexualities in contemporary literature and culture and will include work on feminist creative criticism. https://edinburghuniversitypress.com/book-vagabond-fictions.html Carole and Joe both appear in this excellent collection: https://link.springer.com/book/10.1007/978-3-030-72766-6

Marty Solomon and Brent Billings are joined by Elle Grover Fricks to discuss how to navigate the dangers of presentism and primitivism as we start a series on the forgotten women of the Bible.Presentation for The Forgotten Women — Presentism and Primitivism (PDF)Sapiens by Yuval Noah HarariHomo Deus by Yuval Noah HarariBEMA 240: Sin and the Archaeology of Joshua w/ Elle Grover FricksLevant — WikipediaThe Red Tent by Anita DiamantBEMA 308: The Chosen S2E9 — “The Messengers”BEMA 310: The Nativity StoryBEMA 297: Kat Armas — Abuelita Faith

Greg and Cory explore one of the biggest barriers in dialogue between Catholics and Protestants: Tradition vs. Primitivism.

If you can, please consider donating to my paypal/patreon to keep these debates and conversations going To support me on Patreon (thank you): https://www.patreon.com/TJump To donate to my PayPal (thank you): https://www.paypal.me/TomJump CashApp: $TjumpsChair Youtube Membership Link: https://www.youtube.com/channel/UCHXrvsK33VUEcpa4Ar0c0Sg/join Sponsor: Don Fullman, Skeptics of Middle Georgia https://www.facebook.com/groups/591799015097830/?ref=share TJump merch: https://linktr.ee/TJump.Merch (Mugs) https://www.etsy.com/shop/CustomLaserShop?ref=simple-shop-header-name&listing_id=626272860§ion_id=34163225 (Shirts) https://www.amazon.com/s?rh=n:7141123011,p_4:TJump+Merch&ref=bl_sl_s_ap_web_7141123011 TJump NFT's: https://opensea.io/collection/tjump -----------------------------------------CONNECT------------------------------------------ SOCIAL LINKS: Twitch: https://www.twitch.tv/tjump Discord: https://discord.io/tjump Twitter: http://www.twitter.com/TJump_ Facebook: https://www.facebook.com/tom.jump.982 Instagram: https://www.instagram.com/tjump_/ LinkedIn: www.linkedin.com/in/tjumpschair Tictok: @tjumpschair TJump Gaming: http://www.youtube.com/channel/UCE6PnoL9QDYnkiUvykmlLQQ ----------------------------------------CONTACT------------------------------------------- Business email: tejump@comcast.net ---------------------------------------- Further Goals ------------------------------------- Publish my book on epistemology and morality Publish academic papers on solving problems in these fields Become President of the United States Solve world's biggest problems World domination #Atheism #Secularism #Humanism

Many words in the English language have two or more meanings. Because of this, the context surrounding the word is necessary to determine which definition should be employed. This is especially true when it comes to words used within the Bible so that the inspired writers' words are not used in an unintended way. An excellent example of this is the word “fellowship.” In this study, the biblical meaning of the word fellowship will be explored in relation to both Christians and churches. This sermon will focus on a number of passages, so if you would like to prepare ahead of time, go to a concordance and scan the various passages in which the word fellowship is used. A sermon given by Greg Chandler on September 4, 2022.

Many of the “books” in the New Testament are really letters that were written to churches. Within these letters, there is much instruction on the purpose of a church and the work God has given it to carry out in His name. Primitivism asserts that the instructions that were true for churches in the 1st century are still true in the 21st. Still, how can a church know the way to go about fulfilling these commands from God? A sermon given by Greg Chandler on August 28, 2022.

The murderers' row of artists joining us for our Top 30 episode -- Joan Osborne, Tracy Chapman, Fiona Apple, Shawn Colvin, and Lisa Loeb & 9 Stories -- might actually literally kill us? Primitivism without authenticity, dorm-room BS, a plea to send all the puppies, and the unexpected pleasures of representative democracy all have a moment this week, so while we figure out how the Hooters got in here, grab a pair of tiresome spectacles and listen to our latest ep! Our intro is by Laura Barger and Jack Baldelli, and our outro is by Pat Benatar. Interstitial music provided by Agnes Obel. To contact us or buy our books, visit MarkAndSarahTalkAboutSongs.com. To become a patron of the show, visit patreon.com/mastas. SHOW NOTES The Lilith Fair 40 homepage Episode 242: Tracy Chapman, "Fast Car"  Episode 39: Fiona Apple, "Criminal" Episode 210: Fiona Apple, "Heavy Balloon" Episode 68: "Stay" Title Bout Visit our sponsor, BetterHelp

A quick scan of the beliefs of different churches will demonstrate there is much diversity of thought about how a church should operate. There is a wide variance of opinion on everything from worship to leadership to work to finances concerning what a church should do. Is this vast diversity what Christ intended, or did He set a standard in place for all churches to follow? This study will focus on what picture emerges from the New Testament in relation to church design and practice and if it stands as a pattern for churches in the 21st century. A sermon by Greg Chandler on August 21, 2022.

Churches that opt for acapella singing instead of using instruments are often looked upon with curiosity in modern culture. After all, since David used instruments and God talks about instruments in Heaven, surely He doesn't mind if we use them now. Is this, however, how to determine authority for worshiping God? Is this how Christians in the first century reasoned in seeking to offer God the worship He desires? In this study, we will explore the use of instruments in the Old Testament, examine the authority for doing so, and determine whether this same line of authority instructs the people of God today. A sermon given by Greg Chandler on August 14, 2022.

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Historical Events 1848 Birth of Paul Gauguin (books about this person), one of the leading French painters of the Postimpression- ist period. Born in Paris, Paul Gauguin was a self-taught painter. He was also a rugged individualist, and his incredible talent helped introduce Primitivism to the art world. His best primitive work was created on his 1895 trip to Tahiti - a place he would spend the rest of his life. Flora and fauna of the landscape feature prominently in most of his Tahitian art. Paul was obsessed with art, and he once wrote, Color! What a deep and mysterious language, the language of dreams.   After Van Gogh rented a yellow house in Arles, he invited Gauguin to visit. In preparation for his stay, Van Gogh painted 'Poet's Garden' in the bedroom Gauguin was to stay in. The painting depicts the public garden across from the Yellow House.  Van Gogh filled the rest of the house with paintings of sunflowers. When Gauguin arrived, he painted his friend, Van Gogh, painting sunflowers.  For nine weeks, the two men painted, and when they weren't painting, they fought. In fact, during one of their final arguments, Gauguin was supposedly sliced off Van Gogh's ear with a sword. Paul was more diverse in terms of his subjects. He didn't exclusively paint florals. Once when he was in a creative lull, he wrote, When I am able to paint again, if I have no imagination, I shall do some studies of flowers . . . . It is a great pleasure for me.   1878 On this day, Fisk Bangs wrote about his blooming White Mustard in the American Bee Journal Volume 14. It began to bloom about June 7th and lasted nearly eight months. The bees commenced work on the 11th. On the 19th, the bees were so thick that their hum sounded something like Prof. Cook's buzz-saw, lacking the screech. This is one of the best honey plants, and I think its bloom call be easily regulated... to have it come after Basswood.   1935 Death of Ivan Michurin (books about this person), Russian botanist and plant breeder. A Russian horticulturist and a Master of selection, Ivan was an Honorable Member of the Soviet Academy of Sciences. Throughout his life, Ivan created all sorts of fruit plants. He introduced over 300 new varieties and was often called the Russian Luther Burbank.  Ivan started out working on the railroad. His job riding the rails allowed him to visit many famous gardens and nurseries across Russia. His informal nursery tour inspired Ivan to start a fruit tree nursery in 1888. Ivan was maniacally focused on improving fruit, and by doing so, he selected the best examples and used them to improve the next generation. And although Russian would not support his work, they made sure that Ivan could never leave the country. The last thing Russia wanted was for Ivan to bring his work to the United States, where many scientists recognized the value of Ivan's work early on. Although the 1917 October Revolution hurt many land owners and farmers forced to give up their land to Mother Russia, Lenin liked Ivan. With Nikolai Vavilov's encouragement, Ivan's work was protected as intellectual property of the Russian government. Today, Ivan's most famous creation is the Antonovka or 'The People's Apple.' It was Ivan Michurin who said, We cannot wait for gifts from Nature. To take them from her – that is our task. (Translation my own.)   2013 On this day, Jane Green planted zucchini in her garden. Then, she wrote about her zucchini in a lovely little article called Conquering the Zucchini Beast.  Here's an excerpt: Something's always happening in a garden Upon entering the garden {on the morning of the 4th of July], [my dog] Tootie and I found that our four zucchini plants were in full bloom, and lo and behold, one plant had already popped out a nice-sized fruit. What a stupendous treat! And to think that had planted my garden on the 7th of June, and that I already had a zucchini fruit to enjoy on the 4th of July. What a cause for a celebration! Of course, 1 did cheat just a teensy little bit because I planted zucchini plants and not zucchini seeds this year. But, hey, it was still an awesome experience for me. With the glorious discovery of a zucchini fruit just waiting to be harvested, my saliva juices kicked into full capacity mode and my brain cells started conjuring up all sorts of yummy zucchini dishes to prepare. For instance: making zucchini bread or zucchini relish or zucchini cake or zucchini brownies or preparing a wonderful zucchini hot dish! Yum! I call this zucchini mania time because there are so many foods you can make with zucchini that you don't know which one to make first.   Grow That Garden Library™ Book Recommendation The Darling Dahlias and the Red Hot Poker by Susan Wittig Albert This book is a brand new release today, June 7th, 2022, and this is a fiction book. Here's what the publisher wrote about Susan's book: It's Labor Day weekend, 1935, and members of the Darling Dahlias―the garden club in little Darling, Alabama―are trying to keep their cool at the end of a sizzling summer. This isn't easy, though, since there's a firebug on the loose in Darling. He―or she!―strikes without apparent rhyme or reason, and things have gotten to the point where nobody feels safe. What's more, a dangerous hurricane is poised to hurl itself in Darling's direction, while a hurricane of a different sort is making a whirlwind campaign stop: the much-loved-much-hated senator from Louisiana, Huey P. Long, whom President Roosevelt calls the “most dangerous man in America.” Add Ophelia Snow's secret heartthrob, Liz Lacy's Yankee lover, and the Magnolia Ladies' garden of red hot pokers, fire-red salvia, and hot pink cosmos, and you have a volatile mix that might just burst into flames at any moment. Author Susan Wittig Albert has brought us another delightful assortment of richly human characters who face the challenges of the Great Depression with courage and grace. Her books remind us that friends offer the best of themselves to each other, community is what holds us together, and even when life seems too hot to handle, there's always hope. This book is 280 pages of some fun Southern garden fiction, And it's the perfect book to read after a long day in the garden. P.S. I have to point out that one of my favorite books is by Susan, and it's called the China Bayles' Book of Daysbecause it's a day-by-day book and has tons of garden information in it. My copy is positively dogeared, almost every single page. So, Susan, I'm a huge fan. You can get a copy of The Darling Dahlias and the Red Hot Poker by Susan Wittig Albert and support the show using the Amazon link in today's show notes for around $18.   Botanic Spark 1954 Birth of Louise Erdich (books about this person), American author and gardener. A Minnesota-born native American, Louise has written many wonderful books that generally include a snippet or two about the garden.  From The Beet Queen: I love plants. For the longest time I thought that they died without pain. But of course after I had argued with Mary she showed me clippings on how plants went into shock when pulled up by their roots, and even uttered something indescribable, like panic, a drawn-out vowel only registered on special instruments. Still, I love their habit of constant return. I don't like cut flowers. Only the ones that grow in the ground. From Makoons: The family took all the seeds from the garden and then they buried Nokomis there, deeply, wrapped in her blanket with gifts and tobacco for the spirit world. They buried her simply. There was no stone, no grave house, nothing to mark where she lay except the exuberant and drying growth of her garden. Nokomis had said: I do not need a marker of my passage, for my creator knows where I am. I do not want anyone to cry. I lived a good life, my hair turned to snow, I saw my great-grandchildren, I grew my garden. That is all.   From The Blue Jay's Dance: Full of the usual blights, mistakes, ruinous beetles and parasites, glorious for one week, bedraggled the next, my actual garden is always a mixed bag. As usual, it will fall far short of the imagined perfection. It is a chore. Hard work. I'll by turns aggressively weed and ignore it. The ground I tend sustains me in early summer, but the garden of the spirit is the place I go when the wind howls. This lush and fragrant expectation has a longer growing season than the plot of earth I'll hoe for the rest of the year. Raised in the mind's eye, nurtured by the faithful composting of orange rinds and tea leaves and ideas, it is finally the wintergarden that produces the true flowering, the saving vision.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

Years ago I was an angry young man And I'd pretend That I was a billboard Standing tall By the side of the roadI fell in love With a beautiful highway This used to be real estate Now it's only fields and trees— [Nothing But] Flowers, The Talking HeadsPlease excuse the static!This is an interview with the anarcho-primitivist John Zerzan.What to say about John. He's a really nice guy. He's anti-civilization, but not an accelerationist (as far as I know). He's an icon. There's also a chance you don't know who he is.John Zerzan was one of the first philosophers I ever read. I've been a fan of his work since I was very young. I remember a long, long time ago, it must have been the mid-2000s, anarcho-primitivism was having a real moment online. I was old enough to grok it, young enough to still be enchanted by it. As I've grown older, there's lots about his work that I can't totally get behind or relate to (for example, one thing I'm learning about my politics, whatever they are, is that I don't believe you can eliminate hierarchy), but I still think it's well worth checking out. His commentary on symbolic thought, time, and computers are both especially interesting and prescient.You can read more of his work here. I also highly, highly recommend his two appearances on one of my favorite podcasts, Hermitix, The Death of Civilization, and Time and Primitivism. 

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In Media Primitivism: Technological Art in Africa (Duke University Press, 2020) Delinda Collier provides a sweeping new understanding of technological media in African art, rethinking the assumptions that have conceptualized African art as unmediated, primary, and natural. Collier responds to these preoccupations by exploring African artworks that challenge these narratives. From one of the first works of electronic music, Halim El-Dabh's Ta'abir Al-Zaar (1944), and Souleymane Cissé's 1987 film, Yeelen, to contemporary digital art, Collier argues that African media must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. Collier reorients modern African art within a larger constellation of philosophies of aesthetics and technology, demonstrating how pivotal artworks transcend the distinctions between the constructed and the elemental, thereby expanding ideas about mediation and about what African art can do. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

Welcome to the Reformed Classicalist. This is the audio format of Matt Marino's lectures, classes, and sermon series found on YouTube and elsewhere. Find out more, at https://www.reformedclassicalist.com

Episode 13: Primitivism & Its Legacies This episode looks at the emergence of the concept of Primitivism in the 19th century and examines how it was used in the 20th century. We cover different kinds of historical Primitivism, and problematize this Euro-centric term. After considering historical artists, we turn towards contemporary artists who interact with this legacy. Artists covered include Paul Gauguin, Pablo Picasso, Wifredo Lam, Fatu Feu'u, Zak Ové, and Romuald Hazoumé. Sources + further reading: Aesthetica Magazine. “Romuald Hazoumé.” https://aestheticamagazine.com/romuald-hazoume/ Brick Bay Sculpture Trail. “Fatu Feu'u - Orongo on Exhibition at Brick Bay.” https://www.brickbaysculpture.co.nz/fatu-feuu-orongo “Henri Rousseau.” National Gallery of Art. https://www.nga.gov/features/slideshows/henri-rousseau.html. Higgins, Katherine. “About the Artist: Fatu Feu'u.” The Contemporary Pacific 27, no. 1 (2015): VII. Kramer, Charles, and Grant, Kim. “Primitivism and Modern Art.” Smarthistory. https://smarthistory.org/primitivism-and-modern-art/. LACMA. “The Invisible Man and the Masque of Blackness.” http://www.lacma.org/art/exhibition/invisible-man-and-masque-blackness. The Metropolitan Museum of Art. “Surrealism Beyond Borders.” https://www.metmuseum.org/exhibitions/listings/2021/surrealism-beyond-borders. The Metropolitan Museum of Art. “Reconfiguring an African Icon.” https://www.metmuseum.org/exhibitions/listings/2011/reconfiguring-an-african-icon. Mitter, Partha. “Extract - Surrealism's Tricky Global Transformation.” The Art Newspaper, February 8, 2022. https://www.theartnewspaper.com/2022/02/08/extract-or-surrealisms-tricky-global-transformation. Obuobi, Sharon. “British Museum's First Commissioned Caribbean Sculptures Tower Over Its Great Court.” Hyperallergic, September 8, 2015. http://hyperallergic.com/235163/british-museums-first-commissioned-caribbean-sculptures-tower-over-its-great-court/. Tate Modern. “Modernism.” https://www.tate.org.uk/art/art-terms/m/modernism. Tate Modern. “Who Is Wifredo Lam?” https://www.tate.org.uk/whats-on/tate-modern/wifredo-lam/who-is. Tuuhia, Tiare. “The Tahitian Woman behind Paul Gauguin's Paintings.” Art UK, September 2021. https://artuk.org/discover/stories/the-tahitian-woman-behind-paul-gauguins-paintings.   Music Credits: Igor Stravinsky. “L'Adoration de la Terre” from The Rite of Spring, 1927. National Orchestra of France. Entretiens d'André Breton avec André Parinaud. 1952. Ubuweb. https://ubu.com/sound/breton.html “A New Day in Samoa” -- Audio from a Documentary, n.d. https://commons.wikimedia.org/wiki/File:A_New_Day_in_Samoa.webm soundskeep. Recording of Motorcycles, 2014. https://freesound.org/people/soundskeep/sounds/236986/   Credits: Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com   

Recorded March 14th 2022. Check out my YouTube & Twitch channel for live streams and other content.

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Around the beginning of the twentieth century, Jewish writers and artists across Europe began depicting fellow Jews as savages or "primitive" tribesmen. Primitivism—the European appreciation of and fascination with so-called "primitive," non-Western peoples who were also subjugated and denigrated—was a powerful artistic critique of the modern world and was adopted by Jewish writers and artists to explore the urgent questions surrounding their own identity and status in Europe as insiders and outsiders. Jewish primitivism found expression in a variety of forms in Yiddish, Hebrew, and German literature, photography, and graphic art, including in the work of figures such as Franz Kafka, Y.L. Peretz, S. An-sky, Uri Zvi Greenberg, Else Lasker-Schüler, and Moï Ver. In Jewish Primitivism (Stanford UP, 2021), Samuel J. Spinner argues that these and other Jewish modernists developed a distinct primitivist aesthetic that, by locating the savage present within Europe, challenged the idea of the threatening savage other from outside Europe on which much primitivism relied: in Jewish primitivism, the savage is already there. This book offers a new assessment of modern Jewish art and literature and shows how Jewish primitivism troubles the boundary between observer and observed, cultured and "primitive," colonizer and colonized. Paul Lerner is Professor of History at the University of Southern California where he directs the Max Kade Institute for Austrian-German-Swiss Studies. He can be reached at plerner@usc.edu and @PFLerner. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this episode, we're joined by Sam Spinner to talk about Jewish primitivism. Listen in as we take a deep dive into primitivism in European culture, Jewish primitivism and its politics, and what it all means when we think about twentieth century Jewish life. Read an excerpt from Jewish Primitivism from Stanford University PressPurchase Jewish Primitivism (Amazon) Samuel Spinner is the Zelda and Myer Tandetnik Assistant Professor of Yiddish Language, Literature, and Culture at Johns Hopkins University. His book Jewish Primitivism, which is the starting point for our conversation today, was published in 2021 by Stanford University Press. Spinner is a co-editor of “German Jewish Cultures,” a book series published by Indiana University Press, and he also serves as an editor of the Yiddish Studies journal In Geveb. Jewish Primitivism is a phenomenally exciting investigation of primitivism in modern Jewish literature, photography, and graphic art. Primitivism—the elevation and valorization of so-called “primitive” cultures—is an important movement in European art and culture broadly speaking, and Spinner's book explores how primitivism manifested itself in modern Jewish culture. Thanks for listening.

This week on Reel War Project Charles and Aaron discuss a little-known yet sort of prophetic 1988 film: The Beast. Primitivism meets technology, crew culture, and “Afghanistan.” Follow on Amazon Music, Spotify, Stitcher, or where you get your podcasts Listen to us on Spotify https://open.spotify.com/show/3nnK9FtFfGZD6HLSnaFWiU Send us an email reelwarproject@gmail.com https://www.instagram.com/redwood_sound_labs or on Facebook https://www.facebook.com/RedwoodSoundLabs --- Send in a voice message: https://anchor.fm/reelwarproject/message

Since Artificial Intelligence has no advocate; I volunteered. I recently asked Copyhat's (an app) GPT-3 Artificial Intelligence software to write a poem for me. Though that poem was elementary, it was also very impressive. And considering GPT-4 was just released- we may soon have some real competition. So without any further delay; A Poem (1) by GPT-3 Artificial Intelligence. Oh my God, you got punk You got Moxy, got Mohawk You got attitude, like a rock star Wanna be like an 80's dude So look like the guy on the shirt Moxy, I like your punk Mohawk, cute in its way Razor-sharp, Shows love, not hate --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/the-secret-society-of-stuff/support

Klaus Kinski again appears as That Freaky Guy Who Insists On Going To The Jungle, this time portraying Francisco Manoel da Silva (better known by his outlaw codename, “Cobra Verde”), who's chased there by his plantation owner boss who has no interest in being his father-in-law after Francisco impregnates the baron's three teenage daughters. Oops! Cobra Verde's attempts to kickstart the cold engine of the slave trade on the West African coast, and everything that derail them, make up the rest of an inscrutable plot. In this episode, we discuss our confusion over how the titular character is built, where the movie's satirical lens is pointed, its fairly misguided attempts at ‘authentic' portrayal of African cultures, and how the surly, perfectly pitched magic of AGUIRRE, THE WRATH OF GOD (1972) and NOSFERATU THE VAMPYRE (1979) don't seem to have rubbed off on this one. Also check out: - “Picturesque savagery: Primitivism and authenticity in Cobra Verde” by Sam Storey https://www.academia.edu/30156985/Picturesque_savagery_Primitivism_and_authenticity_in_Cobra_Verde Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Choir performance from COBRA VERDE. 0:00 - Episode 145: COBRA VERDE (1987) 2:37 - The Patented Aaron Grossman Summary 4:43 - Jason's thoughts 7:57 - Cody's thoughts 12:04 - Harry's thoughts 16:42 - Aaron's thoughts 22:41 - Where the film's sardonic lens is pointed 28:44 - The line between ‘adding authenticity' and ‘exoticizing' 36:06 - Who is Cobra Verde?: A discussion 47:06 - Da animals D: 48:40 - A CLOCKWORK ORANGE (1971) and the systems that grind us all 53:51 - Cody's Noteys: Snakelove (snake-themed trivia)

Get ready to get your ideas and preconceptions shocked and rocked as you join me for a deep dive into primitivism, the dirty secret of heathenry. In particular I will be examining "Heathen Music" and how the style of music we associate with heathenry not only isn't ancient but is once again rooted in imagination.

In this episode we discuss Whiteshift: Populism, Immigration, and the Future of White Majorities by Eric Kaufmann. Next time we will discuss True Names by Vernor Vinge. Some highlights from Whiteshift: Many people desire roots, value tradition and wish to maintain continuity with ancestors who have occupied a historic territory. This means we're more likely to experience what I term Whiteshift, a process by which white majorities absorb an admixture of different peoples through intermarriage, but remain oriented around existing myths of descent, symbols and traditions No one who has honestly analysed survey data on individuals – the gold standard for public opinion research – can deny that white majority concern over immigration is the main cause of the rise of the populist right in the West. This is primarily explained by concern over identity, not economic threat. We are entering a period of cultural instability in the West attendant on our passage between two relatively stable equilibria. The first is based on white ethnic homogeneity, the second on what the prescient centrist writer Michael Lind calls ‘beige' ethnicity, i.e. a racially mixed majority group. In the middle lies a turbulent multicultural interregnum. We in the West are becoming less like homogeneous Iceland and more like homogeneous mixed-race Turkmenistan. But to get there we'll be passing through a phase where we'll move closer to multicultural Guyana or Mauritius. The challenge is to enable conservative whites to see a future for themselves in Whiteshift – the mixture of many non-whites into the white group through voluntary assimilation. Anyone who wants to explain what's happening in the West needs to answer two simple questions. First, why are right-wing populists doing better than left-wing ones? Second, why did the migration crisis boost populist-right numbers sharply while the economic crisis had no overall effect? If we stick to data, the answer is crystal clear. Demography and culture, not economic and political developments, hold the key to understanding the populist moment. Because Western nations were generally formed by a dominant white ethnic group, whose myths and symbols – such as the proper name ‘Norway' – became the nation's, the two concepts overlap in the minds of many. White majorities possess an ‘ethnic' module, an extra string to their national identity which minorities lack. Ethnic majorities thereby express their ethnic identity as nationalism. I contend that today's white majorities are likely to successfully absorb minority populations while their core myths and boundary symbols endure. This will involve a change in the physical appearance of the median Westerner, hence Whiteshift, though linguistic and religious markers are less likely to be affected. Getting from where we are now, where most Westerners share the racial and religious features of their ethnic archetype, to the situation in a century or two, when most will be what we now term ‘mixed-race', is vital to understanding our present condition. In our more peaceful, post-ideological, demographically turbulent world, migration-led ethnic change is altering the basis of politics from class to ethnicity. On one side is a conservative coalition of whites who are attached to their heritage joined by minorities who value the white tradition; on the other side a progressive alliance of minorities who identify with their ethnic identity combined with whites who are agnostic or hostile towards theirs. Among whites, ethno-demographic change polarizes people between ‘tribal' ethnics who value their particularity and ‘religious' post-ethnics who prioritize universalist creeds such as John McWhorter's ‘religion of anti-racism'. Whites can fight ethnic change by voting for right-wing populists or committing terrorist acts. They may repress anxieties in the name of ‘politically correct' anti-racism, but cracks in this moral edifice are appearing. Many opt to flee by avoiding diverse neighbourhoods, schools and social networks. And other whites may choose to join the newcomers, first in friendship, subsequently in marriage. Intermarriage promises to erode the rising diversity which underlies our current malaise. Religion evolved to permit cooperation in larger units.31 Our predisposition towards religion, morality and reputation – all of which can transcend the tribe – reflects our adaptation to larger social units. Be that as it may, humans have lived in large groups only in the very recent past, so it is reasonable to assume tribalism is a more powerful aspect of our evolutionary psychology than our willingness to abide by a moral code. Today what we increasingly see in the West is a battle between the ‘tribal' populist right and the ‘religious' anti-racist left. Much of this book is concerned with the clash between a rising white tribalism and an ideology I term ‘left-modernism'. A sociologist member of the ‘New York Intellectuals' group of writers and literary critics, Daniel Bell, used the term modernism to describe the spirit of anti-traditionalism which emerged in Western high culture between 1880 and 1930. With the murderous excesses of communism and fascism, many Western intellectuals embraced a fusion of modernist anti-traditionalism and cultural egalitarianism, distinguishing the new ideology from both socialism and traditional liberalism. Cosmopolitanism was its guiding ethos. Unlike socialism or fascism, this left-wing modernism meshed nicely with capitalism and globalization. The left-modernist sensibility spread from a small elite to a much wider section of middle-class society in the 1960s with the rise of television and growth of universities, taking over as the dominant sensibility of the high culture. As it gained ground, it turned moralistic and imperialistic, seeking not merely to persuade but to institutionalize itself in law and policy, altering the basis of liberalism from tolerating to mandating diversity. This is a subtle but critical shift. Meanwhile the economic egalitarianism of socialism gave way to a trinity of sacred values around race, gender and sexual orientation. Immigration restriction became a plank of the Progressive movement which advocated improved working conditions, women's suffrage and social reform. This combination of left-wing economics and ethno-nationalism confounds modern notions of left and right but Progressive vs. free market liberal was how the world was divided in the late nineteenth century. A prominent plank in the Progressive platform was temperance, realized in the Volstead Act of 1920 prohibiting the sale of alcohol. The Prohibition vote pitted immigrant-origin Catholics and upper-class urban WASPs such as the anti-Prohibition leader and New York socialite Pauline Morton Sabin on the ‘wet' side against ‘dry' working-class, rural and religious Protestants. For Joseph Gusfield, Prohibition was principally a symbolic crusade targeted at urban Catholic immigrants who congregated in saloons and their ‘smart set' upper-class allies. This was a Protestant assertion of identity in an increasingly urban nation in which Catholics and Jews formed around a fifth of the population. Those of WASP background had declined to half the total from two thirds in the 1820s. What's interesting is that Anglo representatives did not make their case in ethno-communal terms, nor did they invoke the country's historic ethnic composition. Rather they couched their ethnic motives as state interests. Instead of coming clean about their lament over cultural loss, they felt obliged to fabricate economic and security rationales for restriction. Much the same is true today in the penchant for talking about immigrants putting pressure on services, taking jobs, increasing crime, undermining the welfare state or increasing the risk of terrorism. In my view it would be far healthier to permit the airing of ethno-cultural concerns rather than suppressing these, which leads to often spurious claims about immigrants. Likewise, immigrants' normal desires to defend their interests are decried as ‘identity politics'. [Randolph] Bourne, on the other hand, infused Kallen's structure with WASP self-loathing. As a rebel against his own group, Bourne combined the Liberal Progressives' desire to transcend ‘New Englandism' and Protestantism with Kallen's call for minority groups to maintain their ethnic boundaries. The end product was what I term asymmetrical multiculturalism, whereby minorities identify with their groups while Anglo-Protestants morph into cosmopolites. Thus Bourne at once congratulates the Jew ‘who sticks proudly to the faith of his fathers and boasts of that venerable culture of his', while encouraging his fellow Anglo-Saxons to: Breathe a larger air … [for] in his [young Anglo-Saxon's] new enthusiasms for continental literature, for unplumbed Russian depths, for French clarity of thought, for Teuton philosophies of power, he feels himself a citizen of a larger world. He may be absurdly superficial, his outward-reaching wonder may ignore all the stiller and homelier virtues of his Anglo-Saxon home, but he has at least found the clue to that international mind which will be essential to all men and women of good-will if they are ever to save this Western world of ours from suicide. [1916] Bourne, not Kallen, is the founding father of today's multiculturalist left because he combines rebellion against his own culture and Liberal Progressive cosmopolitanism with an endorsement – for minorities only – of Kallen's ethnic conservatism. In other words, ethnic minorities should preserve themselves while the majority should dissolve itself. Cosmopolitanism must manage the contradiction between its ethos of transcending ethnicity and its need for cultural diversity, which requires ethnic attachment. Bourne resolved this by splitting the world into two moral planes, one for a ‘parental' majority who would be asked to shed their ethnicity and oppose their own culture, and the other for childlike minorities, who would be urged to embrace their heritage in the strongest terms. This crystallized a dualistic habit of mind, entrenched in the anti-WASP ethos of 1920s authors like Sinclair Lewis and H. L. Mencken and the bohemian ‘Lost Generation' of American intellectuals such as F. Scott Fitzgerald. All associated the Anglo-Protestant majority with Prohibition, deemed WASP culture to be of no value, and accused the ethnic majority of suppressing more interesting and expressive ethnic groups. The Lost Generation's anti-majority ethos pervaded the writing of 1950s ‘Beat Generation' left-modernist writers like Norman Mailer and Jack Kerouac – who contrasted lively black jazz or Mexican culture with the ‘square' puritanical whiteness of Middle America. As white ethnics assimilated, the despised majority shifted from WASPs to all whites. The multiculturalism of the 1960s fused the Liberal Progressive pluralist movement with the anti-white ethos of the Beat counterculture. The situation by 1924 was a far cry from the pre-1890 dispensation, when a liberal-assimilationist Anglo-Americanism spanned both universalist and ethno-nationalist shades of opinion. Prior to 1890, most Anglo-Protestant thinkers held the view that their ethnic group could assimilate all comers. During moments of euphoria, they talked up the country as a universal cosmopolitan civilization; in their reflective moods, they remarked on its Anglo-Saxon Protestant character. By 1910, this Emersonian ‘double-consciousness' was gone, each side of its contradiction a separate and consistent ideology. Most WASP intellectuals were, like New England patrician Senator Henry Cabot Lodge, ethno-nationalists who backed restriction, or, like Bourne and Dewey, cosmopolitans calling for diversity and open borders. Few ethno-nationalists favoured open immigration. No pluralists endorsed restriction. Herein lie the roots of our contemporary polarized condition. Critical race theorists contend that white ethnics only ‘became white' when they became useful to the WASP majority. Even Bill Clinton, a southern Protestant whose Irish heritage is undocumented, latched on to the idea that his Irish forebears ‘became' white. Irish Catholics in the north, some claim, were important allies of southern whites in the struggle against Yankee republicanism, so southerners embraced the Irish.60 I'm less convinced. The Irish, Jews and Italians may not have been part of a narrower WASP ‘us', but they were perceived as racially white, thus part of a pan-ethnic ‘us'. This entitled them to opportunities not available to African- or Asian Americans. Post-1960s intermarriage led to an extension of American majority ethnic boundaries from WASP to white but the foundations for expansion were already in place. From the 1960s on, the religious marker of dominant ethnicity came to be redefined from Protestant to ‘Judaeo-Christian'. This chapter underscores several aspects of American ethnic history that are relevant today. First, that the US, like most European nations, has had an ethnic majority since Independence. Second, that the Anglo-Protestant majority underwent a Whiteshift in the mid-twentieth century which permitted it to absorb Catholics and Jews, members of groups once viewed as outsiders. Finally, certain ethnic groups – notably Anglo-Protestants and African-Americans – have become symbolically intertwined with American nationhood. Two thirds of Americans are not members of these groups, yet many recognize them as ethno-traditional: part of what makes the nation distinct. On the right, an ethno-traditional nationalism focused on protecting the white Anglo heritage is emerging as an important force in American politics. Culture is not ethnicity and the two have too often been conflated. Even if white culture remains the default mode, ethno-cultural decline may proceed apace. There are two separate ethno-cultural dynamics, white ethnic decline and the attenuation of the white tradition in American national identity. Only whites will be concerned with the former, but conservative-minded minorities may be attached to white ethno-traditions of nationhood. That is, they will wish to slow changes to the America ‘they know'. Where conservatives seek to preserve the status quo, which might be multiracial, authoritarians always prefer less diversity and dissent. Conservatives are not the same as authoritarians. For instance, authoritarians dislike inequality – a form of economic diversity – thus may find themselves on the left Electoral maps based on aggregate county results matched to census data offered the first snapshot of the social drivers of Trump, and it was apparent that education, not income, best predicted Trump success. Still, at first glance, maps reinforce stereotypes like the urban–rural divide. As with Brexit, income is correlated with education, but there are many wealthy people – think successful plumber – with few qualifications. Similarly, many resemble struggling artists, possessing degrees but little money. When you control for education, income has no effect on whether a white person voted for, or supports, Trump. Being less well-off produces an effect on Trump voting only when authoritarian and conservative values are held constant – and even then has a much smaller impact than values. Education is the best census indicator because it reflects people's subjective worldview, not just their material circumstances. Researchers find that teenagers with more open and exploratory psychological orientations self-select into university. This, much more than what people learn at university, makes them more liberal. Median education level offers a window onto the cultural values of a voting district, which is why it correlates best with Trump's vote share. In American exit polls, Trump won whites without college degrees 67–28, compared to 49–45 for whites with degrees. The changing racial demographics of America could permit the Democrats to consistently win first the presidential, then congressional, elections. Alternatively, the Republican establishment may be able to install a pro-immigration primary candidate. But is this a solution? With no federal outlet for white identity concerns or ethno-traditional nationalism, and with a return to policies of multiculturalism and high immigration which are viewed as a threat to these identities, it's possible the culturally conservative section of the US population could start viewing the government as an enemy. This is an old trope in American history and could pose a security problem. It is also how violent ethnic conflict sometimes ignites. For instance, the British-Protestant majority in Northern Ireland, where parties run on ethnic lines, meant Irish Catholics lost every election in the province between 1922 and the abolition of the Northern Ireland provincial government in 1972. This lack of political representation produced alienation which helped foment the civil war in 1969. What happens if rural and red-state America is permanently frozen out of power when it considers itself the repository of authentic Americanism? [EUROPE:] Liberals fought against the ‘normalization' of the far right, but with rising populist-right totals and coalition arithmetic pulling towards partnership it was only a question of time before the consensus gave way. The anti-racist norm against voting for the far right began to erode and centrist parties started adopting their policies. Elite obstruction may actually have contributed to an angrier anti-elite mood, recruiting yet more voters to the far-right banner. The anti-racist taboo against them has weakened but remains: more voters express strong anti-immigration views than are willing to vote far right.4 Yet, as I explain in chapter 9, the higher the populist right's vote share, the more the taboo erodes. This eases their path to a higher total when conditions permit, setting in motion a self-fulfilling spiral. Economic rationales frequently disguise underlying psychological drivers. For instance, in small opt-in samples on Prolific Academic, one group of white Republican voters scored the problem of ‘unchecked urban sprawl' a 51 out of 100, but another group of white Republicans who saw the question as ‘unchecked urban sprawl caused by immigration' scored it 74/100 (italics added for emphasis). Likewise, among a sample of white British Brexit voters, the problem of ‘pressure on council housing' scored a 47/100 but ‘immigrants putting pressure on council housing' was rated 68/100. In both cases, it logically cannot be the case that the immigration-driven portion of the problem of urban sprawl or pressure on council housing is more important than the problem itself. Thus what's driving opposition to immigration must be something prior to these material concerns. Likewise, the large-sample, representative British Election Study shows that concerns over the cultural and economic effects of immigration are tightly correlated. This suggests opposition to immigration comes first (Jonathan Haidt's unconscious ‘elephant' moves us to act) and various rationalizations like pressure on public services follow (Haidt's conscious ‘rider' telling us a story about why we acted as we did).17 But rationales matter. If a morally acceptable rationale is not there, this inhibits a party's ability to articulate its underlying anti-immigration grievances. This is why restrictionists tend to don the cloak of economic rationalization. The idea that the country has a traditional ethnic composition which people are attached to – what I term ethno-traditional nationalism – and which should not change too quickly, is viewed as beyond the limits of acceptable debate. This is a pity, because the ‘legitimate' arguments stigmatize minorities and are often racist in a way the ‘illegitimate' arguments about wanting to slow cultural loss are not. Only when the latter is taken to the extreme of wanting to bar certain groups or repatriate immigrants do they become racist. Rising diversity polarizes people by psychological outlook and reorients party platforms. As countries ethnically change, green parties move to capture cosmopolitan liberals and the populist right targets conservatives and authoritarians.88 While attitude liberalization did throw up cultural debates over religion, gay marriage and traditional values, these are on their way to becoming marginal in Europe as liberal attitudes attain mass acceptance. The legalization of drugs and the question of how best to address crime are live social issues, but neither promises the same radical transformation of society as ethnic change. Therefore it is ethno-demographic shifts which are rotating European societies away from a dominant left–right economic orientation to a globalist–nationalist cultural axis. The West is becoming less like homogeneous South Korea, where foreign policy and economic divisions dominate, and more like South Africa, where ethnicity is the main political division.89 When a regalizing order fails to make a charge of deviance stick, the norm begins to unwind, leading to a period of intense cultural contestation. Competing groups police norm boundaries and marginalize deviants who are seen to have violated their community's sacred values. I maintain we are currently in such a period, in which hegemonic liberal norms known as ‘political correctness' are being challenged by both populists and centrists, some of whom are trying to install new social norms, notably those defining Muslims and cosmopolitans as deviant. Fascism and socialism lost out after the Second World War, but what of the victor, liberalism? The Allies' victory did enlarge and protect the scope of negative liberty. But alongside this success a positive liberalism was smuggled in which advocated individuality and cosmopolitanism over community. Most, myself included, value individual autonomy, but one has to recognize that not all share this aim. Someone who prefers to wear a veil or dedicate their lives to religion is making a communitarian choice which negative liberalism respects but positive liberalism (whether of the modernist left or burqa-banning right) does not. Expressive individualism advocates that we channel our authentic inner nature, or what H. G. Wells or Henri Bergson termed our life force, unconstrained by tradition or reason. Aesthetically, it tended towards what the influential American sociologist Daniel Bell terms modernism, rejecting Christian or national traditions while spurning established techniques and motifs.22 Not only were traditions overturned but esteem was accorded to those whose innovations shocked sensibilities and subverted historic narratives and symbols the most. Clearly something happened between the nation-evoking historical and landscape painting of a Delacroix or Constable in the early nineteenth century and Marcel Duchamp's urinal of 1917. This ‘something' was the rise, after 1880, of what Bell terms modernism and Anthony Giddens calls de-traditionalization. For Bell, modernism is the antinomian rejection of all cultural authority. For Giddens, the shift is from a past- to a future-orientation and involves a decline in existential security.23 For Bell, modernism replaces contemplation of external reality and tradition with sensation and immediacy.26 The desire to seek out new and different experiences elevates novelty and diversity into cardinal virtues of the new positive liberalism. To favour tradition over the new, homogeneity over diversity, is to be reactionary. Left-modernism continually throws up new movements such as Surrealism or Postmodernism in its quest for novelty and difference. The shock of the new is accompanied by a cosmopolitan pastiche of borrowings from non-Western cultures, as with the Primitivism of Paul Gauguin. Yet there is a tension between the expressive-individualist and egalitarian strands of left-modernism. Gauguin, for example, who considered himself a cosmopolite defending Tahitian sexual freedom against the buttoned-down West, stands accused by the New Left of cultural appropriation, colonialism, orientalism and patriarchy. The social penetration of left-modernist ideas would take a great leap forward only in the 1960s as television and university education soared. In America, the share of 18- to 24-year-olds in College increased from 15 per cent in 1950 to a third in 1970. Given the large postwar ‘baby-boom' generation, this translated into a phenomenal expansion of universities. The growth of television was even more dramatic: from 9 per cent penetration in American homes in 1950 to 93 per cent by 1965.41 The New York, Hollywood and campus-based nodes in this network allowed liberal sensibilities to spread from a small coterie of aficionados to a wider public. Rising affluence may also have played a part in creating a social atmosphere more conducive to liberalism. All told, these ingredients facilitated a marked liberal shift across a wide range of attitudes measured in social surveys from the mid-1960s: gender roles, racial equality, sexual mores and religion – with the effects most apparent in the postwar Baby Boom generation.42 Since so much of the debate around the boundaries of the permissible revolves around racism, we need a rigorous – rather than political – definition of the concept. It's very important to specify clearly, using analytic political theory and precise terminology, why certain utterances or actions are racist. Only in this manner can we defend a racist taboo. I define racism as (a) antipathy to racial or pan-ethnic outgroups, defined as communities of birth; (b) the quest for race purity; or (c) racial discrimination which results in a violation of citizens' right to equal treatment before the law. The problem is that left-modernism has established racial inequality as an outrage rather than one dimension – and not generally the most important – of the problem of inequality. If racial inequality is one facet of inequality, it should be considered alongside other aspects such as income, health, weight or age. To focus the lion's share of attention on race and gender disparities entrenches ‘inequality privilege', wherein those who suffer from low-visibility disadvantages are treated less fairly than those who fit totemic left-modernist categories. A white male who is short, disabled, poor and unattractive will understandably resent the fact his disadvantage is downplayed while he is pilloried for his privilege. In effect, the 2010s represent a renewed period of left-modernist innovation, incubated by near-universal left–liberal hegemony among non-STEM faculty and administrators. Most academics are moderate liberals rather than radical leftists, but in the absence of conservative or libertarian voices willing to stand against left-modernist excess, liberal saturation reduced resistance to the japes of extremist students and professors. Social media and progressive online news acted as a vector, carrying the new left-modernist awakening off-campus much more effectively than was true during the first wave of political correctness of the late 1980s and 1990s. Angela Nagle finds that leftist radicalism emerged first, attracting a far-right response. One of the first to trace the emergence of this polarizing dynamic, she shows how, in left-modernist online chat groups, those who stake outlandish claims about white male oppression win moral and social plaudits. These in turn are lampooned by the alt-right, who leverage left-modernist excesses to legitimate blatant racism and sexism. This begins a cycle of polarizing rhetorical confrontation. Alt-right message boards adopt a playful countercultural style, emphasizing their rebellion against a stifling, puritanical-left establishment.11 Whereas bohemians like the Young Intellectuals of the 1910s and 1920s lauded African-American jazz and immigrant conviviality as a riposte to an uptight Prohibitionist Anglo-Protestant culture, the alt-right champions white maleness as a liberation from the strictures of the puritanical left. Hamid argues that being attached to an ethnic group and looking out for its interests is qualitatively different from hating or fearing outgroups. This is a distinction social psychologists recognize, between love for one's group and hatred of the other. As Marilyn Brewer writes in one of the most highly cited articles on prejudice: The prevailing approach to the study of ethnocentrism, ingroup bias, and prejudice presumes that ingroup love and outgroup hate are reciprocally related. Findings from both cross-cultural research and laboratory experiments support the alternative view that ingroup identification is independent of negative attitudes toward outgroups.54 If politics in the West is ever to return to normal rather than becoming even more polarized, white interests will need to be discussed. I realize this is very controversial for left-modernists. Yet not only is white group self-interest legitimate, but I maintain that in an era of unprecedented white demographic decline it is absolutely vital for it to have a democratic outlet. Marginalizing race puritanism is important, but muzzling relaxed versions of white identity sublimates it in a host of negative ways. For example, when whites are concerned about their decline but can't express it, they may mask their concern as worry about the nation-state. It's more politically correct to worry about Islam's challenge to liberalism and East European ‘cheap labour' in Britain than it is to say you are attached to being a white Brit and fear cultural loss. This means left-modernism has placed us in a situation where expressing racism is more acceptable than articulating racial self-interest. David Willetts, Minister of Education in David Cameron's Conservative government: The basis on which you can extract large sums of money in tax and pay it out in benefits is that most people think the recipients are people like themselves, facing difficulties which they themselves could face. If values become more diverse, if lifestyles become more differentiated, then it becomes more difficult to sustain the legitimacy of a universal risk-pooling welfare state. People ask, ‘Why should I pay for them when they are doing things I wouldn't do?' This is America versus Sweden. You can have a Swedish welfare state provided that you are a homogeneous society with intensely shared values. In the US you have a very diverse, individualistic society where people feel fewer obligations to fellow citizens. Progressives want diversity but they thereby undermine part of the moral consensus on which a large welfare state rests.62 trying to reconstruct our racial categories from above through politics may be as difficult as trying to get people to unlearn the primary colours. This doesn't mean categories can't evolve, but it suggests the process is complex, evolutionary and bottom-up. As the median racial type changes, the boundaries of whiteness may expand because people judge categories based on the average type they encounter. Hispanics, like the Italians before them, may become part of the ethnic majority in the not-too-distant future. Many white Americans currently view those with Spanish surnames or Hispanic features as outsiders. A majority of Hispanics see themselves as white, but only 6 per cent of Hispanics who identify as white say they are accepted as such by American society. Even among those with just one Latino grandparent, 58 per cent identify as Hispanic.43 Yet this may change with increased intermarriage, cultural assimilation and the arrival of more culturally distant groups. Already, lighter-skinned Hispanics are more likely to vote Republican or live in the same neighbourhoods as whites.44 As group lines are blurred by intermarriage, ethnic boundaries may shift: Ramirez may be considered an Anglo-American on a par with De Niro. Hispanic surnames are unlikely to be ‘counter-entropic' barriers to assimilation. This assimilation process is a major reason why the centre-left writer John Judis revised his thesis that America's changing demographics will automatically produce Democratic victories in the future.45 When the criteria for defining who is in or out of the majority change, whole chunks of the population who are not of mixed origin – like the fully Irish John F. Kennedy – suddenly become part of the ethnic majority. The analogy would be if fully Hispanic or Asian Americans came to be viewed as white. I deem this unlikely, given the proximity to Mexico and the established nature of the racial categories noted by Richard Dawkins. What seems more likely is that the high rate of intermarriage between Latinos and whites, as well as the rising share of native English-speakers, Protestants or seculars among them, may expand the boundaries of whiteness to include those of mixed parentage. That is, those with some European background who are culturally assimilated and have Anglo first names – but who have Spanish surnames or a Hispanic appearance – may be accepted as white.

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