mills

My name is Mills Baker; I write about love, culture, art, religion, mental illness, philosophy, memory, politics and the rather random.

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China

Returning to the US from China feels like returning to sleep after waking from a dream, the mild consolation of normalcy dwarfed by the depressed sense one has that the dream, in its fecundity and dynamism, was preferable to the nullity into which one is descending. It is easy to say this, of course, as a Westerner, for whom the extraordinary adventure of life in China is a dream easily woken from; for those whose lives unfold under the arbitrariness of bureaucratic authoritarianism and in a nation that features incredible destitution in its very capital, it is something other than delighted dynamism, something far closer to a fight.

But it so happens that we were Westerners and that periods of change are more interesting to us than the draining stases from which we departed. Marx’s well-researched descriptive ideas have merit: there are phases of “world historical development” and there are vicissitudes to life under emerging capitalism which seem unavoidable, reflective of its “internal contradictions”; that his ideas about how to address this problem proved a revolting farce demonstrates how much easier observation is than direction, how much simpler history is than politics. Life in Beijing seemed at times like nothing so much as London during the Industrial Revolution, while our trip to Tiananmen Square on the anniversary of the massacre reminded us that the “class struggle” has been little more than an excuse for a different elite to make war on civil society.

We did the tourist things, of course, but seldom and quickly: Jack July was too good a guide to waste time on relics reconstructed after whatever paroxysm of revolution, ordinary or cultural. Instead, we spent most of our time walking the city, meeting locals whose friendliness and amusement was welcome, accompanying expats on ‘wanders’ of the hutongs, eating and drinking endlessly, and witnessing such a variety of sights, smells, and sounds that it felt as though many days were compressed into each 24-hour period.

Always, though, there was a peculiar mode of social existence: in several places we went the locals had not seen Westerners, and stares were ubiquitous, sometimes accompanied by greetings and on one occasion a hug and kiss on the cheek. But though we were always focal points of attention, I speak no Chinese and most Chinese speak no English, not even enough to tell it apart from Russian, so that I had a kind of anonymity of identity: although we were hyper-visible physically, my personality and self were not at all scrutinized. The feeling of being invisible yet not ignored was intoxicating.

Insofar as we travel both to encounter otherness and newness and to leave ourselves behind, it was an ideal state: selfless without feeling lonely, without attributes yet without feeling dull, I was able to wander as an eager, disembodied eye. What I saw was a dense and entrancing as any dream, and I hope to see far more of it soon enough.

Going to China

Jack, Will, and I will be in China for a while. I hope that whatever I return with is interesting for you. Please note that I will be out of touch rather completely while gone, although inquiries may be made at the United States’ embassy in Beijing.

If anything occurs of particular interest or you have something you think I’d do well to see and worry that in the avalanche of material to work though on my return it may be lost to me -a deprivation I can scarcely afford!- please let me know in a comment below. I would love to return to many such notices.

Last, there may be opportunities for mobile image uploads to Photophobia; if I can, I’ll post anything worthwhile.

“Trace and aura. The trace is appearance of a nearness, however far removed the thing left behind may be. The aura is appearance of a distance, however close the thing that calls it forth. In the trace we gain possession of the thing; in the aura it takes possession of us.”
Walter Benjamin, The Arcades Project, [M16a,4] in the section called The Flaneur, quoted by my friend E. at his new tumblelog: Corner Lot. There are perhaps ten posts on his front page alone that approach the value of my entire library.
GPOYW: I am not particularly good at photographing people, but Elle is: the photo above and this one are as about as good as it gets with an awkward subject who spits and scowls and shouts all the time. I’d be grateful if someone could explain why this scene immediately called to mind Stanley Kubrick.
(Via Photophobia / Flickr / Larger).

GPOYW: I am not particularly good at photographing people, but Elle is: the photo above and this one are as about as good as it gets with an awkward subject who spits and scowls and shouts all the time. I’d be grateful if someone could explain why this scene immediately called to mind Stanley Kubrick.

(Via Photophobia / Flickr / Larger).

Making Elle laugh is like stealing fat-man’s candy from a baby: easy, since babies don’t care about money or cheese. Because it was her first time to New Orleans, we provided some obligatory good times; these naturally included a genuine “Big Easy” close-encounter with a dying vagrant’s vomited spume and some parked-car squatter napping.
Beyond that, some of what we did is below and the rest is in this photoset.

After breakfast at Cafe du Monde, we walked a bit in the French Quarter before lunch from Domilese’s at the Fly along the Mississippi. I got in the grass and Elle stood around in the sunshine laughing.

We took the obligatory trip to Eric’s house, which all my visiting guests know well. It’s a remarkable place, probably the best single site for demonstrating how different New Orleans is.

Afterward, we took a walk around the Lower Garden District. Then, Elle and Will ate at Ignatius while I slept in the car.

Next we saw Kermit Ruffins at Rock ‘n’ Bowl; then, we went downtown so Elle could see Bourbon Street en route to meeting up with Mandalay. I stopped to get a Lucky Dog, and while Elle photographed me I saw a staggering man reach his hand towards her waist; this hilarious shot is documents my expression as I prepared to throw aside the insanely delicious hot dog and shove some lecher away.
We eventually evacuated the Quarter in time to make her early flight the next morning. Both she and Mandalay were lots of fun, and the entire weekend was another reminder of how much I love being back in New Orleans.

Making Elle laugh is like stealing fat-man’s candy from a baby: easy, since babies don’t care about money or cheese. Because it was her first time to New Orleans, we provided some obligatory good times; these naturally included a genuine “Big Easy” close-encounter with a dying vagrant’s vomited spume and some parked-car squatter napping.

Beyond that, some of what we did is below and the rest is in this photoset.

After breakfast at Cafe du Monde, we walked a bit in the French Quarter before lunch from Domilese’s at the Fly along the Mississippi. I got in the grass and Elle stood around in the sunshine laughing.

We took the obligatory trip to Eric’s house, which all my visiting guests know well. It’s a remarkable place, probably the best single site for demonstrating how different New Orleans is.

Afterward, we took a walk around the Lower Garden District. Then, Elle and Will ate at Ignatius while I slept in the car.

Next we saw Kermit Ruffins at Rock ‘n’ Bowl; then, we went downtown so Elle could see Bourbon Street en route to meeting up with Mandalay. I stopped to get a Lucky Dog, and while Elle photographed me I saw a staggering man reach his hand towards her waist; this hilarious shot is documents my expression as I prepared to throw aside the insanely delicious hot dog and shove some lecher away.

We eventually evacuated the Quarter in time to make her early flight the next morning. Both she and Mandalay were lots of fun, and the entire weekend was another reminder of how much I love being back in New Orleans.

[Flash 9 is required to listen to audio.]

Allen Toussaint - Either.

See also: Toussaint’s Louie, What is Success, and Sweet Touch of Love, the latter two posted by The World Keeps Going Round.

Mandalay, visiting family in New Orleans, agreed to waste some of her time with me, Will, DHK, and various assorted friends and acquaintances (including Elle). It was a delight. The disparity that exists between our various personas isn’t novel, but it has clearly become more overtly baffling since the Internet enabled the creation and development and presentation of an almost entirely edited, contrived iteration of the self. Or: Mandalay seemed surprised by what a filthy bastard I am, while I was happy to find her laid-back, funny, witty, and adventurous.
Above, eating a late, late dinner at Jacques-Imo’s. Following are some photos of her visit, more of which are in this photoset.

Above: note that Mandalay is not impressed if you explain that you “cannot dance due to leg injuries of an undiagnosed nature.”
Note that Mandalay is impressed with DHK’s capacity for lexical invention, including his introduction of the phrase “fat man’s candy,” meaning (1) cheese, (2) cash-money, or (3) candy. It is best used in business settings to refer to either revenue or the so-called ‘low-hanging fruit’ you’ll pluck before sinking back into useless bureaucratic stasis.

Above: Will, Mandalay, and me in front of St. Joe’s.
See also: “Alligator cheesecake” and fried grits, and the fried-roast-beef-poboy she referred to when posting this incredibly lifelike pen-and-ink drawing of me.

Mandalay, visiting family in New Orleans, agreed to waste some of her time with me, Will, DHK, and various assorted friends and acquaintances (including Elle). It was a delight. The disparity that exists between our various personas isn’t novel, but it has clearly become more overtly baffling since the Internet enabled the creation and development and presentation of an almost entirely edited, contrived iteration of the self. Or: Mandalay seemed surprised by what a filthy bastard I am, while I was happy to find her laid-back, funny, witty, and adventurous.

Above, eating a late, late dinner at Jacques-Imo’s. Following are some photos of her visit, more of which are in this photoset.

Above: note that Mandalay is not impressed if you explain that you “cannot dance due to leg injuries of an undiagnosed nature.”

Note that Mandalay is impressed with DHK’s capacity for lexical invention, including his introduction of the phrase “fat man’s candy,” meaning (1) cheese, (2) cash-money, or (3) candy. It is best used in business settings to refer to either revenue or the so-called ‘low-hanging fruit’ you’ll pluck before sinking back into useless bureaucratic stasis.

Above: Will, Mandalay, and me in front of St. Joe’s.

See also: “Alligator cheesecake” and fried grits, and the fried-roast-beef-poboy she referred to when posting this incredibly lifelike pen-and-ink drawing of me.

[Flash 9 is required to listen to audio.]
Bill Withers - Harlem.
“By itself, reality isn’t worth a damn. It’s perception that promotes reality to meaning. And there is a hierarchy among perceptions (and, correspondingly, among meanings), with the ones acquired through the most refined and sensitive prisms sitting at the top. Refinement and sensitivity are imparted to such a prism by the only source of their supply: by culture, by civilization, whose main tool is language. The evaluation of reality made through such a prism –the acquisition of which is one of the main goals of the species- is therefore the most accurate, perhaps even the most just.”

Joseph Brodsky. My first instinct was to wonder: but what of the beauty of the unobserved world? Isn’t it sublime to imagine the sun shining on an empty Earth, the stars sending their ancient light through a universe uncomplicated by the prisms and hierarchies of our species?

But of course: such imagining, such assertions, are contingent on perception; and it is mere absurdity to think that beauty would exist without being named, that meaning could be found without someone searching for it.

Brodsky was a persecuted poet in the Soviet state, aware of something important: that humanity’s creative capacity to perceive and make meaning is no trivial or merely political process, and that therefore an informing culture is as necessary as air and water to sustaining what we call life. States dedicated to the reengineering of humankind kill culture first and finally for this reason: just, accurate meanings are the enemy of the tyrant. Their murder is the precondition for hopeless submission. Hence: the foreclosure of certain forms of expression is always a kind of oppression, more or less serious as the case may be.

See also: Frankl and Solzhenitsyn.

Humanum est Errare; to Forgive, Divine. (By Joshua Heineman of Cursive Buildings).
Humanum est Errare; to Forgive, Divine. (By Joshua Heineman of Cursive Buildings).

Should Empathy Have Been Invented?

From Figures in the Carpet, which I’ve referenced before:

“The distinction between sympathy and empathy -feeling with and feeling ‘into,’ with the greater intensity of identification with the object associated with the latter- is a product of early-twentieth-century psychology and aesthetic theory. Prior to Theodor Lipps’ invention of the concept of einfühlung, translated as empathy by E.B. Tichener in 1909, the idea was folded into the meaning of sympathy.”

Putting aside the interesting problem of how isomorphic our terms for feelings are to our feelings, the text continues:

“[Previously thinkers] configured the relationship between the psyche and the world of others in such a way that they saw no difference between the two modes of feeling. The invention of the concept of empathy actually redefined the meaning of sympathy by drawing a distinction where there had been none before, in effect defining sympathy as ‘not empathy.’”

It seems clear that this distinction is part of what might be termed a politico-aesthetic drift in culture away from hierarchies: sympathy is often related, unfairly in my view, to “pity,” which is rejected as being offensive to the pitied for its implied hierarchy of power and privilege. The essay in question refers to this as “the necessary inequality between those giving and receiving sympathy.”

Is this a case of (1) ideologically-driven language manipulation, occurring well in advance of any comparable change in the nature of human emotion or the structure of culture, (2) an appropriate reflection of our ambition to be democratic and non-judgmental, however far short we fall, (3) absurd, as one cannot invent the concept of a feeling, instead being able only to reframe the same human feelings in fashionable, but specious, verbiage, or (4) something else entirely?

(Answers will govern whether I continue to use the term ‘empathy’).

Even though I wore my silliest hat, today brought what in the corporate world we call “poisonous wrath” and the “deepest despair of the soul”; it is in such moments of extremity, seized by paroxysms of fury, laid low by the toxicity of stifled rage, melancholic and exhausted, that I know I am delivering value to the shareholders and being the best middle-manager I can be.
Nevertheless, it takes a toll, so when we left I thought it might be sound to take a few photos in the overgrown field next to our building. It was, and made me feel better, and then I came home and Five’s new explosive diarrheal habit had produced another kitchen-floor Pollock. After I titled, photographed, catalogued, and wrote an essay about it, I broke out the bleach to erase this most ephemeral form of art.
Then, my sister Nudawn sent me the oil painting below. I strongly dislike hugs, or human touch of any sort, or even basic human decency or warmth, outside of a relationship (a purely theoretical phenomenon at this point). When I was a child I amused my parents and teachers by drawing a two-headed beast called “The Hugging Monster” with the faces of mom and dad on it; it was chasing me. Nudawn has captured it beautifully.
This weekend I will be in New Orleans again, meeting Tumblr-users Mandalay (1st time), DHK (Umpteenth time), and Hell Belle (Nth time), probably in that order, and getting as drunk as possible on non-alcoholic beer. Don’t ever think dreams can’t come true.
(From Photophobia, here is this dumb grass even larger).

Even though I wore my silliest hat, today brought what in the corporate world we call “poisonous wrath” and the “deepest despair of the soul”; it is in such moments of extremity, seized by paroxysms of fury, laid low by the toxicity of stifled rage, melancholic and exhausted, that I know I am delivering value to the shareholders and being the best middle-manager I can be.

Nevertheless, it takes a toll, so when we left I thought it might be sound to take a few photos in the overgrown field next to our building. It was, and made me feel better, and then I came home and Five’s new explosive diarrheal habit had produced another kitchen-floor Pollock. After I titled, photographed, catalogued, and wrote an essay about it, I broke out the bleach to erase this most ephemeral form of art.

Then, my sister Nudawn sent me the oil painting below. I strongly dislike hugs, or human touch of any sort, or even basic human decency or warmth, outside of a relationship (a purely theoretical phenomenon at this point). When I was a child I amused my parents and teachers by drawing a two-headed beast called “The Hugging Monster” with the faces of mom and dad on it; it was chasing me. Nudawn has captured it beautifully.

This weekend I will be in New Orleans again, meeting Tumblr-users Mandalay (1st time), DHK (Umpteenth time), and Hell Belle (Nth time), probably in that order, and getting as drunk as possible on non-alcoholic beer. Don’t ever think dreams can’t come true.

(From Photophobia, here is this dumb grass even larger).

Sophie Scholl, of the White Rose resistance group; killed February 22, 1943.
Clive James, despite his atheism, wrote that Sophie Scholl “was probably a saint” and compared her to Jesus Christ; her face on German postage stamps is as great a symbol of transformation as Saul’s conversion, a demonstration that neither a state nor a human is ever beyond redemption.
There is some question, however, as to whether every member of our species remains human; in their spellbound, somnambulistic stupor, the Germans of the 1930s and 1940s can be said at the very least to have permitted as inhuman a machine as was imaginable  to assemble itself from their institutions and indeed their very body politic: the infernal Nazi state which defies credulity and has thus become myth. We feel that the Germans, the Wermacht, the Nazis, the Gestapo, must have been monsters, not ordinary typical humans as we are.
Whatever they were, there were few dissenters in their midst; and even if one objected to Nazism, one knew one could do nothing; and had one a family, what would running out into the street to be shot down by the SS as they came to capture one’s neighbor do anyway but assure that one’s child, too, would die in a camp, or at least be orphaned? Against sufficient power, morality is purely sacrificial; even if we can accept this for ourselves, can we accept it on behalf of others who need us?
Perhaps this is why the White Rose was comprised of the young, though not exclusively. A small, hopeless band of Germans who resisted the Nazi regime, they engaged in the simple, chiefly symbolic act of circulating essays which attempted to wake readers from the sociopathic trance in which they seemed to have been lulled by Hitler.

That students, powerless and doubtless aware that they faced assured death were they caught, turned to the essay as a means of protest is significant; they were using the expression of the West’s cultural heritage, its literary and rational tradition, as means to combat the negation of that heritage: irrational authoritarianism:
It is impossible to engage in intellectual discourse with National Socialism because it is not an intellectually defensible program. It is false to speak of a National Socialist philosophy… At its very inception this movement depended on the deception and betrayal of one’s fellow man; even at that time it was inwardly corrupt and could support itself only by constant lies. After all, Hitler states in an early edition of “his” book (a book written in the worst German I have ever read, in spite of the fact that it has been elevated to the position of the Bible in this nation of poets and thinkers): “It is unbelievable, to what extent one must betray a people in order to rule it.”
In their leaflets, which quoted Goethe and Aristotle, they argued both for intellectual resistance and for sabotage, and called attention to the slaughter of the Jews, the Poles, and others, asserting every argument against the Nazi machine they could muster: on theological, practical, political, patriotic, historical, artistic, and moral grounds they fought the lies of propaganda and the delirium of the trance-state.
As they surely knew would happen, they were caught; in 1943, all were arrested by the Gestapo, tried, and executed. There is a great deal more about their story here; it is as moving as anything I know. As one playwright noted:
The fact that [these] little kids, in the mouth of the wolf, where it really counted, had the tremendous courage to do what they did, is spectacular to me. I know that the world is better for them having been there, but I do not know why.
The emphasized last line seems crucial to me; I can only suggest that in their sacrificial courage, their refusal to abrogate their innate moral duty -which tens of millions of their peers had happily neglected-, and their sagacity despite their youth, the White Rose confirm that there was the finest sort of humanity even in the midst of that infernal machine. Maybe it is that they remind us that heroism is possible for all.
(Note: I’d written and abandoned dozens of posts about them several months ago while briefly fixated by ideas about morality, resigning myself to the customary sense of oafishness one feels when speaking of the very precious, but was reminded of them again by the eminent B. Michael’s note about Holland, 1954, a Neutral Milk Hotel song which mentions them. It isn’t surprising that Jeff Mangum alludes to them; one can easily grow as obsessed with the White Rose as with Anne Frank, and I find it hard not to search photos of Sophie Scholl for signs of her core, the source of her heroism, the looming loss).

Sophie Scholl, of the White Rose resistance group; killed February 22, 1943.

Clive James, despite his atheism, wrote that Sophie Scholl “was probably a saint” and compared her to Jesus Christ; her face on German postage stamps is as great a symbol of transformation as Saul’s conversion, a demonstration that neither a state nor a human is ever beyond redemption.

There is some question, however, as to whether every member of our species remains human; in their spellbound, somnambulistic stupor, the Germans of the 1930s and 1940s can be said at the very least to have permitted as inhuman a machine as was imaginable  to assemble itself from their institutions and indeed their very body politic: the infernal Nazi state which defies credulity and has thus become myth. We feel that the Germans, the Wermacht, the Nazis, the Gestapo, must have been monsters, not ordinary typical humans as we are.

Whatever they were, there were few dissenters in their midst; and even if one objected to Nazism, one knew one could do nothing; and had one a family, what would running out into the street to be shot down by the SS as they came to capture one’s neighbor do anyway but assure that one’s child, too, would die in a camp, or at least be orphaned? Against sufficient power, morality is purely sacrificial; even if we can accept this for ourselves, can we accept it on behalf of others who need us?

Perhaps this is why the White Rose was comprised of the young, though not exclusively. A small, hopeless band of Germans who resisted the Nazi regime, they engaged in the simple, chiefly symbolic act of circulating essays which attempted to wake readers from the sociopathic trance in which they seemed to have been lulled by Hitler.

That students, powerless and doubtless aware that they faced assured death were they caught, turned to the essay as a means of protest is significant; they were using the expression of the West’s cultural heritage, its literary and rational tradition, as means to combat the negation of that heritage: irrational authoritarianism:

It is impossible to engage in intellectual discourse with National Socialism because it is not an intellectually defensible program. It is false to speak of a National Socialist philosophy… At its very inception this movement depended on the deception and betrayal of one’s fellow man; even at that time it was inwardly corrupt and could support itself only by constant lies. After all, Hitler states in an early edition of “his” book (a book written in the worst German I have ever read, in spite of the fact that it has been elevated to the position of the Bible in this nation of poets and thinkers): “It is unbelievable, to what extent one must betray a people in order to rule it.”

In their leaflets, which quoted Goethe and Aristotle, they argued both for intellectual resistance and for sabotage, and called attention to the slaughter of the Jews, the Poles, and others, asserting every argument against the Nazi machine they could muster: on theological, practical, political, patriotic, historical, artistic, and moral grounds they fought the lies of propaganda and the delirium of the trance-state.

As they surely knew would happen, they were caught; in 1943, all were arrested by the Gestapo, tried, and executed. There is a great deal more about their story here; it is as moving as anything I know. As one playwright noted:

The fact that [these] little kids, in the mouth of the wolf, where it really counted, had the tremendous courage to do what they did, is spectacular to me. I know that the world is better for them having been there, but I do not know why.

The emphasized last line seems crucial to me; I can only suggest that in their sacrificial courage, their refusal to abrogate their innate moral duty -which tens of millions of their peers had happily neglected-, and their sagacity despite their youth, the White Rose confirm that there was the finest sort of humanity even in the midst of that infernal machine. Maybe it is that they remind us that heroism is possible for all.

(Note: I’d written and abandoned dozens of posts about them several months ago while briefly fixated by ideas about morality, resigning myself to the customary sense of oafishness one feels when speaking of the very precious, but was reminded of them again by the eminent B. Michael’s note about Holland, 1954, a Neutral Milk Hotel song which mentions them. It isn’t surprising that Jeff Mangum alludes to them; one can easily grow as obsessed with the White Rose as with Anne Frank, and I find it hard not to search photos of Sophie Scholl for signs of her core, the source of her heroism, the looming loss).

“Everywhere I go I find that a poet has been there before me.”

Sigmund Freud, quoted by Wolf and Fox. Psychotherapy in its infancy seemed like an effort to scientifically objectify artistic knowledge about humanity and its fears, longings, dreams; much reads like literature, and some -like Jung- sounds religious. It is emblematic of the 20th century that we attempted this translation of poetics into science.

Art reminds us endlessly that human life is essentially unchanging, that we are not different from our forebears, whose concerns and fears and dreams we share, that history is more cyclical than linear. Science tells us the opposite: that history is linear and progressive, that the world and human society are perfectible, and that we are ever-advancing: it is a kind of post-religious eschatology.

Some time ago, writing about Chaplin and Einstein, I wasn’t precisely sure why we now so strongly prefer science to art, but I partially suspect it is because science offers a much more alluring myth than art does, and consoles us in our mortality by telling us that with every decade our species advances towards an unspecified state of angelic or utopian transcendence.

As with the perpetually preparatory model of life offered to a modern citizen, in which every phase of education, employment, courtship, and leisure is measured by its capacity to position one for the next phase, the implied anthropology of a scientific / technocratic model is one of promise: diseases cured, inconveniences conquered, understanding attained, life extended. The purpose of humankind is to perfect itself and the universe, it is suggested, and this will occur; we are thus part of a narrative journey into an ideal future (and as Frankl and James have noted, deprived of a sense of futurity we tend to collapse).

I mean to take nothing from science in noting that although it is among the finest achievements of humanity, certain facts remain which art is better-suited to convey: that despite the Large Hadron Collider and jet airplanes and vaccines and psychotherapy, we remain deeply strange, hopeful, fearful, loving, jealous, giving, deranged, ingenious creatures as mortal as we’ve ever been, and that whatever humanity’s future evolution every one of us lives and dies alone.

It is well that science incrementally improves us, our world, and our understanding of the universe, but it is not surprising that Freud felt as though he was following poets: art, free from rationalism, epistemological restraint, or the need to solve the problems it finds beyond cathartically bringing them into our awareness, often arrives first, and sometimes goes deepest.

Train tracks: seem almost to be a miniature. (Photophobia / Via /Larger)
Train tracks: seem almost to be a miniature. (PhotophobiaVia /Larger)