Darfur: Rally to Raise Awareness

Tomorrow (Sunday April 30th) there will be a series of rallies happening around North America to raise awareness of the terrible situation in Darfur, Sudan.

You can find out where in your vicinity this rally is happening here.

It is important that our political leaders, who have all cut back support to this region recently, understand the gravity of the situation: routine killings, rapes, and ethnic cleansing.

Is this the only place in the world (or Africa for that matter) that needs attention – no. It’s easy to say “What about Somalia?” or “What about this other country?”. The thing is, in the absence of a perfect solution to those questions I would rather err on the side of helping than sitting at my desk trying to address an impossibly large problem that satisfies all criteria.

If you live in Toronto, the rally starts tomorrow @ 1pm at Queen’s Park. Info located here.

If you are interested in getting involved, please do.

(for context on this problem, please see this entry in Wikipedia)

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Comment: On Perfection


per·fec·tion·ism n.

  1. A propensity for being displeased with anything that is not perfect or does not meet extremely high standards.

Never trust a self-professed perfectionist. There are two reasons for this:

1) People who identify themselves as perfectionists usually aren’t perfectionists, but insecure people with naive aspirations of greatness.

2) True perfectionism is a mental illness, not a quality worth admitting to.

Essentially, perfectionism is a neurosis which, contrary to common understanding of the term, imposes set boundaries on accomplishment. This may seem at odds with our popular understanding of it. Perfectionism, as commonly seen, is an aim towards a standard of accomplishment which is exceptionally high. It is for this badge of honour that the insecure wrap themselves in this garment. I would argue however that the perfectionist mindset is so captained by the end result (“perfection”) that the person under this condition is actually unable to see other possibilities.

Perfectionism is thus the inability to see beyond a single result. To the afflicted, this single result is everything, but in actuality it is a foolish construct; it denies the natural or realistic ebb and flow of performance and quality.There are always going to be greater and lesser works in a person’s output.

A profound example was illustrated in “Art & Fear: Observations on the Perils (and Rewards) of Artmaking, by David Bayles and Ted Orland (ISBN: 0961454733). A pottery teacher splits his class into two groups; one group is to focus on making one exceptional, perfect object for the end of the course. The other group is to focus on creating a series of objects. At the end of the course, the latter class ended up with the more impressive end result. Why? Because their output was steady; even though their first examples were weak (as would be expected), with each successive piece of pottery there was steady improvement to the extent where they often surpassed those classmates in the other group whose itinerary it was to create “perfection”.

When someone says something is perfect (in all seriousness), they deny the flexibility and infinite variables that surround us. The fact is, nothing is perfect – if it were, there wouldn’t be much point in carrying on, would there?

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RIP: Jane Jacobs

The point of cities is multiplicity of choice.”
– Jane Jacobs, 1916-2006


From CBC News:

Toronto-based urban critic and author Jane Jacobs died Tuesday morning.

Jane Jacobs, shown in 2004, influenced a generation of urban planners with her critiques about North American urban renewal policies. (Adrian Wyld/CP)

Jacobs, author of The Death and Life of Great American Cities, and most recently, Dark Age Ahead, was 89.

Her powerful critiques about the urban renewal policies of North American cities have influenced thinking about urban planning for a generation.

Born May 4, 1916, in Scranton, Penn., Jacobs had made her home in Canada since the late 1960s.

Educated at Columbia University, she met her husband, architect Robert Jacobs, at the Office of War Information in New York, where she began writing during the war.

Known for protesting sprawl

The strong themes of her writing and activism included opposition to expressways, including the Spadina Expressway in Toronto, and the support of neighbourhoods. Jacobs has been arrested twice while protesting urban plans she believed to be destructive.

She also explored these ideas in books such as The Economy of Cities, Cities and the Wealth of Nations and Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics.

The Death and Life of Great American Cities, published in 1961, questioned the sprawling suburbs that characterized urban planning, saying they were killing inner cities and discouraging the economic vitality that springs organically from neighbourhoods.

Inspired ‘Ideas That Matter’ gathering

Jacobs settled in Toronto in 1969. There she supported developments such as the St. Lawrence neighbourhood, an inner-city development for people of all income levels.

In 1997, the City of Toronto sponsored a conference entitled Jane Jacobs: Ideas That Matter, which led to a book of the same name.

Her most recent book, Dark Age Ahead is “a grave warning to a society losing its memory,” jurists said in awarding her the $15,000 Shaughnessy Cohen Prize for Political Writing in 2005.

“In spare, exquisite prose, Jane Jacobs alerts us to the dangers facing the family, higher education, science and technology, the professions, and fiscal accountability. Drawing on history, geography, and anthropology, this book reflects a lifetime of study and observation, offering us lessons to avoid decline,” the jury said.

Dark Age Ahead finds comparisons between our current North American culture and European culture before the fall of the Roman Empire and the subsequent Dark Ages.

Interviewed by Canadian Press when she won the Shaughnessy Cohen Prize, Jacobs said, “People really know themselves that the dark age is ahead. They’re worried, and they haven’t articulated it, but they feel it.”

“I think it’s late but we don’t need to go down the drain,” she said. “But we will if we aren’t aware. It’s a cautionary book.”

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Book Review: Prisons We Choose To Live Inside, by Doris Lessing

House of Anansi Press has re-released their excellent CBC Massey Lectures Series. These are expansive, thought-provoking works which aim to push our understanding of society and the individual in the late-20th (now early-21st) century. The series includes works from many different points of view: A Short History of Progress by Richard Wright, The Unconscious Civilization by John Ralston Saul, and Beyond Fate by Margaret Visser are only a fragment of this extremely revealing and influential volume.

Prisons We Choose To Live Inside, a collection of five lectures author/novelist Doris Lessing gave in Canada in 1986, is a fine introduction to this astutely-observed collection. Clocking in at a mere 76 pages, Lessing lays down a sobering, eye-opening conception of the place of the individual in modern-day society. Her points are clear: history (the study of which she advocates with Cassandra-like insistence) clearly warns us against the perils of becoming embroiled in “mass emotion” and the inherent fascism of group-think. Repeatedly, she advocates the need for cool, objective distance from events and society – even at the peril of seeming an elitist.

With succinct skill and a preference to reference personal experience over statistics, she lays down her points consistently throughout:

 

I think when people look back at our time, they will be amazed at one thing more than any other. It is this – that we do know more about ourselves now than people did in the past. But that very little of it has been put into effect.

 

She makes it clear that there is little excuse, living in an age where social sciences (psychology, sociology, social behaviourism) have flourished, for society to not be equipped with an understanding of the basic underpinnings of society and human behaviour. Yet we don’t; the information never trickles down from academia in a way that can be instilled easily in our public schools, perhaps because the message is largely: group-thinking and mass emotions are our undoing – at risk of ostracism, it’s best that you question everything.

 

One of the many examples she lists is how Stalin, at the time when the Nazis invaded the Soviet Union, was referred to in Allied propaganda as ‘Uncle Joe’ and how the Russians’ defiant struggle was our struggle…only to turn on a dime after the fall of Hitler and turn against ‘Uncle Joe’, decrying every aspect of the Soviet Union not only as backward – but evil. This last word is very important within the context of Lessing’s lectures because historically it tends to come up every time a group wishes to strengthen their moral stance – and eliminate dissent. It isn’t enough to politely disagree – you must denigrate and vilify. Lessing speculates the reason behind this lies with our animal instincts: the instinct to separate into good/bad, black/white etc..

One of her more chilling statements, which she uses when talking about her childhood in war-torn Southern Rhodesia (now Zimbabwe), is that we have to accept that there are people in all parts of the world – in every society – who quite simply enjoy barbarism. They enjoy it, and, when society is on the verge of a conflict, these same people will move to the forefront to push things towards violence.

Again, sobering – and pertinent – stuff. Lessing’s tone is unapologetic, yet she does pepper her lectures with humour (albeit darkly at times). One thing to be aware of is that the original lecture was given in 1986; her examples refer to the British mining strike of ’84, the Falklands War, and then-Communist Russia. Obviously, for those not born early enough to remember these conflicts, it may be good to have Wikipedia nearby for a little context. However, her analogies and references are universal and certainly applicable to the debacles we face today. Her speculations are haunting in their honesty and relevance, and I am reminded of someone’s reference to John Ralston Saul’s Voltaire’s Bastards as “a hand grenade disguised as a book”.

Quite true, and we are all the better for reading books such as these.

Prisons We Choose To Live Inside is available for sale at a fine independent bookstore near you, as well as…Powell’s, Amazon, Chapters.

Published by House of Anansi Press (ISBN: 0-88784-5215)

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Context: Reality-TV

I was reading Theresa C’s comment, and felt inspired by her saying how “Un-Reality TV is mind numbing”. I largely agree, and thought that people should know where this medium came from.

Let’s start with some history, because reality-TV, currently trickling down from the peak of its popularity, neither came about accidentally nor without reason.

In 1988, two of the largest television-industry unions went on strike: SAG (Screen Actors Guild of America) and the WGA (Writer’s Guild of America). With a long and protracted labour action underway, television producers (whose job it is to raise money, oversee production, and sell their shows to networks) were left potentially without any means to do their job: produce. They were seemingly hog-tied by the fact that they couldn’t hire actors or writers.

There were three means that evolved by which producers (and networks) could work around this: the newsmagazine program, the daytime talk-show, and the so-called “reality show”. The former was a variation based on existing (and relatively successful) programs such as “60 Minutes“, only with a stronger emphasis on real-time/ENG-style aesthetics (which evolved from the increasing portability of video cameras and the emergence of the one-man newsgatherer technique pioneered by such TV stations as City-TV in Toronto). Utilizing a stronger visual style rather than talking-head interviews, with an emphasis on flow rather than a strict focus on content, both CBS and ABC rolled-out “48 Hours” and “PrimeTime Live” respectively. Eventually, this verite style merged into existing and new 60 Minutes-Lite programs such as “A Current Affair” and “Inside Edition“.

The second way producers diverted the use of actors and writers was creating more daytime talk-shows which, unlike the comparatively tame examples set by Oprah Winfrey and Phil Donahue, focused on live conflict and on-stage humiliation. Shows like “The Maury Povich Show” and “The Jerry Springer Show” lead the ground in a confrontational and largely exploitational style, utilising supposedly real everyday people as their guests. Of course, real everyday people aren’t consistently exciting, so often the focus was on Neo-Nazis, domestic family conflicts, and, well, idiots.

The last format was the “reality tv show”. The difference between this and the newsmagazine/talk-show formats was utilising a day-in-the-life-of style, where the camera (usually just one) was always on, following its subject, hoping to capture excitement. The progenitor of this was “COPS“, which aired on the FOX network in 1989. COPS, ostensibly a means for producers to side-step using actors and writers, turned into a phenomena from which much of the current streams of reality-TV can be drawn from: intense, outrageous, cheap to produce.

(Note: almost every show mentioned above – with the exception of “A Current Affair”, a show which soon devolved into the same scare tactics and exploitation of its brethren – started as a direct result of the SAG and WGA strikes, circa 1988.)

In other words, aesthetics aside, what started as a way for producers to produce during the labour-action ended up as a cost-efficient way to create cheap programming which the public took to very quickly and the networks gobbled-up: it was engaging, often enraging, and allowed the audience to peer into the seamy side of society from a safe (if voyeuristic) distance.

It was only until recently – ten years after the SAG and WGA strikes – when any modicum of creativity was injected into the medium, when programs such as “Survivor“, “Blind Date“, and “The Apprentice” took the elements of all three of the above mediums and went primetime against ensemble dramas and sitcoms to astounding success.

Of course, every fad must die, and slowly this newest generation of the reality-TV mould is fading away into obscurity, reminiscent of the last days of Jerry Springer when even the most outrageous bullshit didn’t get the ratings it used to. Too many shows, too little fresh ideas, the medium has devolved into self-parody with the likes of The Simple Life” and American Idol“.

Reinvigorated by the success of harder-hitting dramas on HBO (like “Six Feet Under“) the public is coming back around to ensemble drama and network television has responded with a better-than-average crop of programs in response. So what will the next metamorphosis for reality-TV be? Possibly a return to live performance on television, in the style of the great Sid Caesar and Jackie Gleason. Ironically, what television started out with in its infancy – an extension of vaudeville and theatre – may come back some 50 or so years later to reclaim our attention. That I would look forward to seeing.

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Article: Telefilm in the Hotseat

In the latest Maclean’s magazine, Brian D. Johnson writes a perfect summation of what is wrong with English Canadian filmmaking: not one thing, but several – and most paths lead back to the government-backed, taxdollar-fuelled funding agency, Telefilm. The article in question isn’t available online, so I suggest you purchase your copy at the local store.

Titled “The Lost Picture Show”, Johnson articulates exactly the frustration amongst established and independent filmmakers who’s goal is to shoot commercially accessible films; this stands in contrast to the long line of edgy/anti-hero ridden/low-key releases which have largely gone straight to video with little mainstream acclaim and fewer people who could vouch to have seen them.

As Johnson notes in his interview with Paul (Due South, Men With Brooms) Gross:

‘English Canadian cinema is wedded to an auteur model based on the early festival breakthroughs of some “really terrific filmmakers like Atom Egoyan.” Then [Gross] adds, “It’s been stuck in that mode for a while. Festivals are composed of audiences that you never see replicated in a normal theatre. We’ve hidden behind this intellectual rampart. And we end up in this perverse situation where we assign to any failed film a great deal of intellectual integrity.”‘

As much as I love/support/appreciate the dark, edgy and ultimately hard-to-market work of filmmakers such as Guy Maddin, I admit that it cannot be our only cultural sustenance. We cannot survive soley on a meal of dark introspection (though it makes for such a wonderful – somtimes necessary – dish from time to time).

The thrust of much of the article is the war between producers, distributors (roundly accused by many of taking the money and running), and the English-language arm of Telefilm – whose opaque methods and logic would astound even The Knights of Templar.

As would be predicted, the producers want distributors to take more risk (to discourage the habit of flipping their investment by selling broadcast rights to films and then spending a fraction of their profit on a weak/token theatrical release that no one will see), the distributors want everyone to take more risk, and Telefilm, recently headed by semi-autonomous robot Wayne Clarkson, can only field the disgruntlement by reacting not like the head of a company (as we would expect) but like your typical corporate lackey:

“Is there any issue? Absolutely. Is the present system working? Not to the degree that we all wish it would. Do there have to be changes? Absolutely.”

Great stuff, Wayne.

Some modest suggestions of my own:

1) Non-Quebec film exhibitors must be obligated to devote 10-15% of screen time to Canadian-made features (English and/or French-language). If Can-Con (Canadian content regulations) can apply to radio and television, it makes perfect sense that theatres should shoulder this as well.

2) Telefilm should drop the “envelope system” (whereby a successful film’s producer is granted a no-strings $3.5 million each year for three years to invest as he/she wishes). It only leads to the anemic creative impasse we’ve been stuck with for the past 10 years: the same people support the same people and there is no incentive towards quality or success.

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"Wild Speculation"

…is the response from the president of the U.S. regarding a recently published report detailing alleged White House/Pentagon preparations to preemptively attack Iran.

In The Iran Plans, published in the latest New Yorker, Seymore M. Hersh outlines conversations with several leading Pentagon advisors and international diplomats privy to the escalation of a military plan to ‘address’ the problem with Iran’s nuclear ambitions.

Some excerpts:

One former defense official, who still deals with sensitive issues for
the Bush Administration, told me that the military planning was

premised on a belief that “a sustained bombing campaign in Iran will

humiliate the religious leadership and lead the public to rise up and

overthrow the government.” He added, “I was shocked when I heard it,

and asked myself, ‘What are they smoking?’ “

Good question. Although there are politically moderate movements in Iranian society – contrary to the country’s depiction in news snippets – bombing the country would probably do more to antagonize these potential allies.

In the words of a Petagon adviser:

He warned [the administration], as did many others, that bombing Iran could provoke “a chain reaction” of attacks on American facilities and citizens throughout the world: “What will 1.2 billion Muslims think the day we attack Iran?”

I would replace ‘1.2’ with ‘6’ and ‘Muslims’ with ‘people’, otherwise – in the grand scheme – we slide into an ethnocentric us vs. them dialogue.

The Pentagon adviser said that, in the event of an attack, the Air Force intended to strike many hundreds of targets in Iran but that “ninety-nine per cent of them have nothing to do with proliferation. There are people who believe it’s the way to operate”—that the Administration can achieve its policy goals in Iran with a bombing campaign, an idea that has been supported by neoconservatives.

(*cough* like Dresden?)

According to a “government consultant with close ties to civilians in the Pentagon”:

The broader aim […] is to “encourage ethnic tensions” and undermine the regime.

As if “ethnic tensions” can be turned on and off like a switch (furthermore – as if they couldn’t come back, a la bin Laden in Afghanistan, to bite the encourager).

I’ve been debating this report with some associates today. One of them thinks that the US will make a move prior to the elections later this year, in the hope that a refreshed ‘wartime administration’ can survive falling polls and drooping support at home. He argues that if the Republicans lose the power of Congress it will be harder for them to make the offensive possible. I personally think this is a very tall order and that, Congress or no Congress, the current US administration will use any means necessary to justify their interpretation of the foreign affairs.

One thing is for sure – the drip, drip, drip of a complacent American media will help to foment support via the usual techniques: a sense of inevitability, fear, and profound doubt in anyone (ie the IAEA, the UN) being able to offer a better solution.

In related news, Iranian president Mahmoud Ahmadinejad is insisting on visiting Germany to boost Iranian team support at this summer’s World Cup. A bit of trivia: the last time the U.S. met Iran at the World Cup, Iran beat them 2-1. Although both countries qualified for 2006, they are in separate groups and neither will find it particularly easy to progress for a possible re-match. Dare to dream.

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Profile: Caspar David Friedrich

Man & Woman Contemplating the Moon, 1830-35

From Wikipedia :

Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th century German romantic painter, considered by many critics to be one of the finest exemplars of the movement.”

I’ve always had a natural attraction to Friedrich’s work: there is a lonely, spiritual stoicism at play in which the natural world becomes our cathedral.

Samples:

The Wanderer Above a Sea of Fog, 1818

The Sea of Ice, 1824

A good link for more images: The Paintings of Caspar David Friedrich
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