Because: they never did. We primates all had a common ancestor. And that species evolved into Homo sapiens and others of that genus, as well as, separately, into Pongo pygmaeus and the other great apes.
Monkeys do not become humans because the leap across the branches of the tree of life are too great. Their chance to be something different to what they are came and went a long time ago. Circumstance and geography made monkeys, monkeys and humans, humans.
Why can’t the U.K. be like Switzerland? Or Norway? Or New Zealand? Or Singapore? Or any other country that flourishes outside the European Union?
In an Aeonessay on the (surprisingly early) deforestation of England, Hugh Thomson writes this about our national identity:
The myth panders to our need for a sense of loss. There is an undercurrent of regret running through our history. A nostalgia for what could have been: the unicorn disappearing into the trees; the loss of Roman Britain; the loss of Albion; the loss of Empire. We are forever constructing prelapsarian narratives in which a golden sunlit time — the Pax Romana, the Elizabethan golden age, that Edwardian summer before the First World War, a brief moment in the mid-1960s with the Beatles — prefigure anarchy and decay. Or the cutting down of the forest.
One only need look at the near-ecstatic reception given to Danny Boyle’s Olympic rendition of our ‘green and pleasant land’, complete with shire culture and hobbit mounds, to see how easily history elides with mythology. Britons are supremely comfortable with that blurring — with a mythic dimension that adds gravitas to our self-understanding, and that imbues the land with a kind of enchantment, a magical aspect that is echoed in our narratives of how we came to be a nation, but is as illusory as the Arthurian lake from which the Lady’s hand emerges to grasp the sword.
Writing in the New Statesman about how useless and selfish Boris Johnson has been as Foreign Secretary, John Elledge says this:
There’s no evidence he cares about the public good, nor matters of policy, nor even ideology: he treats politics as a game, and his goal has only ever been to reach the next square on the board. This was how politics worked in the latter part of the Roman Republic, where the entire point was to complete the cursus honorum quicker than your peers
On Monday morning, the Foreign Secretary Rt. Hon. Boris Johnson MP was asked on BBC radio what the British Government’s vision of the border between the Republic of Ireland and Northern Ireland would look like, should the UK leave the EU Single Market and Customs Union. In a garbled answer about the power of technology to facilitate frictionless trade, he put forward this analogy:
There is no border between Camden and Westminster, but when I was mayor of London we anaesthetically and invisibly took hundreds of millions of pounds from the accounts of people travelling between those two boroughs without any need for border checks whatever.
He was presumbaly referring to London’s Congestion Charge. Journalists and social media users spent the rest of the morning mocking this wholly inappropriate analogy with the centuries old troubles in Ireland.
In a comment about Donald Trump’s most recent abuse of power, Vanity Fair contributing editor Kurt Eichenwald uses an interesting turn of phrase to describe political legacies: “Cowards are not the people schools are named for.”
12…for the spineless ones to decide: What matters more? The Constitution, this country, or your job? Is appeasing people who care nothing and know nothing about the rule of law what you want? Cowards are not the people schools are named for. Cowards go down in history as….
Speaking on the Ezra Klein Show podcast this week, former Obama speechwriter John Favreau diagnosed the current American political malaise as being essentially about shame… or the lack of it. He and Klein noted that many of the guard-rails to good, democratic behaviour in politics, especially American politics, depends upon the idea of personal shame. People, even (perhaps especially) politicians, care about what other people think of them, and this moderates their behaviour. Politicians like Barack Obama cared deeply when they were criticised, even if that criticism came from their political opponents. This drives conciliation and compromise with the ‘other side’ and can also foster respect, understanding and bipartisanship. This is what a polity requires to maintain a functional democracy. Continue reading “Shame and Legacy”
At the beginning of this month, the U.S. sports website SBnation.com surprised its readers with an unexpected meditation on the game of (American) football. A piece titled ‘17776: What Football Will Look Like In The Future’ was posted to the site, alongside the usual results and recaps of recent baseball and basketball games. But when curious readers clicked on the headline, they were transported fifteen thousand years into the future, and billions of miles into deep space. Over the following weeks, new chapters to the story drew readers into writer Jon Bois’s appreciation of our planet and what it means for humans to play in it.
The characters in the world are very old, possibly immortal. They use their new-found longevity to play and watch long and complex games, usually based around what we 21st century denizens recognise as gridiron football. Several far-future nationwide football games are described, all with a lineage that can be traced back to those we watch today. But all the games a far more extreme and heightened, having evolved over millennia. Just as, with biological evolution, the essential components of a given animal order, family or genus are revealed as they become more pronounced, so those aspects American football that are at the core of the sport are revealed when the future-humans iterate it to a ridiculous degree.
As well as the idea of play, Bois invites us to revel in the vastness and complexity of our planet, and the unique history of each patch of earth. In one particular sequence, I thought of the art of the Boyle Family, who pick random points on the globe and precisely reproduce the square metre of ground that they find there.
The format goes beyond what one might expect from a piece of online writing. It’s a collision of YouTube video animation, chat room text, and Google Earth renderings. One thought I had after reading a couple of chapters was that it should not be surprising that the format is surprising. Modern technology offers countless ways to render a narrative, and all Bois has done is to take a fairly well established format—a chat room script—and illustrate it with animations from a common online tool. It is not particularly radical, but the way we publish online (both the format of digital content, and it’s graphic design) has become so formulaic that even small and obvious departures from the norm suddenly feel innovative. In a Q&A, the author himself puts it very well:
I could go really, really long on this answer. I’ll keep it short: There are countless different ways to write, and things and ideas to write about. And the Internet offers a kaleidoscope of different formats, media, tools, sights, and sounds to tell your stories. And most of us are not even trying to scrape the surface of any of it. We’ve got to start thinking of the Internet as something more than a glow-in-the-dark newspaper.
On Facebook, a friend of mine writes:
it is such a brilliant piece of work, creative and touching and imaginative and smart, and it could only work here, in this medium. Is there anything else like that? I’m not sure.
There are precedents. First, in the Q&A, Bois cites Calvin and Hobbes as an influence on his writing. And there are moments in 17776 that feel exactly like Bill Watterson’s comic strip. In particular, the way in which the three narrators revel in the beauty of (in turn) the Earth, human endeavour and the game of American football, could easily be something Calvin comes out with on one of his meditative sledge rides.
I think a better comparison than Calvin and Hobbes is with the xkcd web comic. If Jon Bois is not a fan of Randall Munroe’s twice-weekly panels, I’d be astonished. xkcd characters often manifest the same geeky wonder at creation that Ten, Juice and finally Nine profess in 17776.
When ‘Click and Drag’ was first published, I wrote:
This is art that is native to the internet, and therefore still relatively rare. While most art we see online (photography, film, creative writing) can actually be viewed in other media (on a wall, in a book, on TV), this piece of art only works online. The clicking-and-dragging is inherent to experiencing of the art.
We can call 17776 ‘native’ internet art too, I think. The combination of text, GIFs and video only really work when read in a browser. I suppose it could be translated into a single YouTube video but that would be an act of adaptation, just as the ‘whole world’ images that xkcd fans have created of comic 1110 are an adaptation (and a spoiler) for the online version.
Projects like 17776 remind us that while the game of football may be old, the Internet is still a very new medium. It’s a delight to live in this moment of innovation, and to watch artists experiment within it.
One striking aspect of the Star Wars behemoth is how the bad guys have become hip1. The triangles and chevrons of the Darth Vader and Stormtrooper mask have become iconic in their way, and adorn T-shirts, rucksacks, pin-badges, and even baby clothes.
You’re all aware of the controversy surrounding the Cecil Rhodes statue at Oxford University, right?
To recap: Cecil Rhodes (1853-1902) was the colonialist, businessman and white supremacist whose career in Southern Africa had huge impact on the continent. The celebrated Rhodes Scholarship programme at Oxford University was established by his estate. As such, there is a statue of him at Oriel College at Oxford. Some current students are campaigning to have the statue removed on the grounds that Rhodes was a racist and not someone who should be glorified in stone.
I have just uploaded some digitised super 8mm cinefilm footage I took in 2003, of the anti-war demonstrations in London.
I sent the original reels to the producers of the We Are Many documentary. They have crowd-sourced footage of the biggest mobilisation of people in history. Sadly, my footage did not make it into the final cut (too much panning, maybe!?) but they provided me with the digitised footage anyway. I am making it available online under a Creative Commons Licence.
Watching the footage a decade after I took it, I am amused by how the vintage cinefilm adds an extra sheen of history to the images. Its also serendipitous that I received this footage back just as Instagram launched its video service. The quick cuts and grainy film in my clips are mirrored in the new content being produced today by social media enthusiasts. I was using Instagram Video before it was cool!
The impulse to create art is as powerful as any other thing that drives us because art connects us to experiences and to one another. Good is besides the point when the need behind it is to create something honest and true to the way we see the world. It’s not about realism. The vintage-tinted Instagram filters are derided for adding a nostalgic cast to the mundane, but what they do is allow users to share their world in the same emotional shades they see. The photo becomes not just a document of a moment, but a story told from a point of view.
This speaks to why I chose to document the protest with Super 8mm cine-film in the first place. The political mobilisation of early 2003 felt historic, and I wanted to convey that in my personal record of the day.