In Society Must Be Defended, Michel Foucault argued that discipline in Western societies is achieved and organized in particular ways: “…the delicate machines of power cannot function unless knowledge, or rather knowledge apparatuses, are formed, organized, and put into circulation, and those apparatuses are not ideological trimming or edifices” (Foucault 33). In the United States, the culture industry is largely responsible for the production and circulation of knowledge. In the realm of politics, modern individuals access most of their information through mass media, and therefore the place and role of a candidate as “presidentiable” is socially constructed in the public sphere. Indeed, a political campaign is generally experienced through the lens of television, radio, newspapers and the Internet. However, journalists are often more interested in conflicts or scandals rather than substantial ideas, as political scientist Thomas Patterson explains in Voter Competence, and they are therefore less likely to report on content – such as laws and issue – than on context, personality or skills: “Research has shown that [controversies] received nearly as much coverage as substantive policy issues and in some cases even more” (Patterson 48). The public therefore tends pays attention to rhetoric rather than to details, and the political discourse has, over the years, been leaning towards Entertainment Politics.
Historically, the shift between a political communications based on issues to one based on image can be traced to the 1952 presidential election. Because the Republican Party knew that it could not win with the Party alone, it stressed the image of WW2 General Dwight Eisenhower rather than the Party itself, or tangible issues. They fabricated an image which, according to rhetorical theorist Kathleen Hall Jamieson, “…enabled voters vicariously to experience the supposedly hardy, healthy, heroic life of their candidate” (Jamieson 11). General Eisenhower was rendered more human throughout the campaign, and was perceived by his audience as a father figure: loving, caring, knowledgeable and experienced. Such a strategy created a way in which the Republican could earn a populist vote to be elected to office, and thereby break the Democratic tradition. Eisenhower was well advised by the Madison Avenue public relation specialist Ben Duffy, who declined Stevenson’s invitation to debate during the campaign, as he knew that Ike did not have the required skills to debate Stevenson on television, or on radio as a matter of fact. TV advertising, however, allowed for the candidates to directly penetrate the living room of their audiences, and repetitively spread their messages. The Republicans understood the question of timing, and the ritual aspect of television. They chose to air their ads at times when people would be watching their favorite shows, and could therefore reach a broader and popular audience. The very short clips included a lot of repetition and got to the point without really discussing the issues, or the ideology the party but forced the personality traits of Eisenhower. The political ad “I Like Ike” is a short clip that had been produced by the Disney studios, which was cutting-edge in terms of technology.
The music and the repetition of the catchy phrase “I Like Ike” made it linger in the minds of the American people. The different individuals, carrying sign and marching from the left towards the right of the screen embodies the change that was to come with Ike, as the donkeys representing the Democrats were passively watching the parade go by. Eventually a drawn portrait of Ike appeared on the screen, above Capitol Hill, in a bright shinning sun. This clip is not discussing issues or the Republican Party, but it is appealing to the audience that may recognize themselves in the video, and hum the song as their day goes by.
Nowadays, culture has been turned into a commodity in a way in which the public itself has been affected, and segmented according to consumption patterns. While Eisenhower’s campaign team decided to air most of their short ads before a popular show “I Love Lucy” to specifically target a populist vote, the Internet has allowed for a debatably ethical collection of data to better package and “sell” a president to a specific audience. According to media theorist Bruce Gronbeck, this trend has had a great impact on modern society “In diving people by consumption patterns, advertisers have effectively used such patterns to foster as well as a divided culture (…) and different from folks with different consumption preferences” (Gronbeck 238). The public sphere transitioned from a space dedicated to politics and public opinion to an arena of public taste, where one doesn’t cast a vote but “likes” a webpage.
Technology mediated a discourse in which consumers replaced citizens; the conceptual realm of the public sphere shifted from ritualized consumption to a temporal architecture in which dates are landmarks for “togetherness”. The Republic and its citizens is constantly divided all throughout the campaign, but brought together by the Election Day.
These tensions create among the voters an alienation that brings many of them to say “It doesn’t matter who we elect, they are all the same anyway”. This is at this moment that we truly cave into, in David Foster Wallace’s words “our own individual laziness and selfishness and weakness” for the benefit of the ruling class, and status quo. When the democratic process is slown down, or as Hannah Arendt put it “when this light is extinguished by "credibility gaps" and "invisible government," by speech that does not disclose what is but sweeps it under the carpet, by exhortations, moral and otherwise, that under the pretext of upholding old truths, degrade all truth to meaningless triviality” it is the entire nation that becomes exploited by a system over which they feel they have no control over. I believe that great leadership does not only come from political leaders, it also must emanate from all citizens, that should recognize the humanity of their elected officials, and separate the function and the person behind it, the image and the policies. To me, real unifying political action will come from the citizens, and star with education at a young age. Mandatory media criticism classes, paired with a close study of propaganda models in history classes will allow future citizens, and voters to grasp the tensions created by our media saturated environment, and recover agency over the system.
Beyond the tremendous place and importance of the President in the United States of America and in the entire world, it is the survival of the American democracy that is a stake. The true meaning of an election is the expression of ones voice, and the liberty to make choices in a global context where many voices are being silenced by the sound of machine guns.
Foucault, Michel. Society Must Be Defended. New York: Pantheon Book. 1977. Print.
Gronbeck, Bruce E. The Web, Campaign 07-08, and Engaged Citizens: Political, Social and
Moral Consequences. The 2008 Presidential Campaign. A Communication
Perspective. Robert E. Denton. Rowman & Littlefield Publishers, New York City.
Jamieson, Kathleen Hall. Packaging The Presidency, A History And Criticism Of Presidential
Campaign Advertising. 3rd Edition. Oxford University Press, USA, 1997. Print.
Patterson, Thomas. Voter Competence. 2003. Print.
I spoke with my daughter this morning. She is seven. I asked her what she thought of Mitt Romney's speech. She answered: "Both he and President Obama tell lies simply to get elected." Now I know she is to some extent parroting what she hears around our dinner table and the playground. But there is something deeply disheartening in her seven-year-old cynicism. There is a deep sense not only that our politicians lie, but also that the Presidency is a broken institution. That the President is captive of interests special and not-so-special. That the President is trapped in a bureaucracy impervious to change and that the President, whomever he or she may be, cannot really change the perilous course on which our nation is headed. This indeed is the topic of an upcoming conference, "Does the President Matter? A Conference on the American Age of Political Disrepair."
There are myriad sources for this pessimism that one hears from seven-year-olds, college students, and adults. It is markedly different from the idealism that swept the country four years ago personified in Barack Obama. More so than any time I know of, there is a sense of total hopelessness; a feeling that neither party and no potential president can possibly change our course for the better.
To understand this ennui, one must take President Obama's failure seriously. That failure is simple. He became President amidst the perceived failure of the presidency of George W. Bush. The Country desperately wanted a change. At the same time, the financial crisis threatened to overwhelm the nation. The President offered hope. He embodied all of our dreams, offering a way forward, out of the excesses of the Bush era and towards a re-enlivening of basic American values of freedom and fairness. There was, in the President's own words, a demand for a "new era of responsibility."
The force of Mitt Romney's Convention speech on Thursday was his expression of disappointment in the President. This strikes me as a non-partisan statement and that is its strength. It is hard to find even the most stalwart of President Obama's supporters who will disagree with this assessment. Where does it come from? Why has Obama disappointed us?
One answer comes from Kathleen Hall Jamieson, one of the leading thinkers of Presidential rhetoric of our time. Jamieson has given analyses of many of President Obama's speeches, and his found them deeply wanting. In her 2010 address to the American Political Science Association, she says:
In other words, Barack Obama was never as eloquent as we thought he was. A person matched a moment with rhetoric in a context in which the audience created something heard as eloquence. Widely labeled as eloquent, he creates expectations for his presidency that he cannot satisfy in the presidency barring that he is Abraham Lincoln with the Gettysburg Address or a Second Inaugural in his pocket.
So on the one hand, Obama set the expectations for himself too high. That may be, but it is also the case that he became President at a time of great crisis. Maybe it wasn't a Civil War, but the financial crisis does threaten the future of the United States. One fault of the President is that he has continued to describe the financial crisis as a temporary setback, one that will cause some pain but will pass. He has not taken the financial crisis seriously enough, and categorized it for what it is, a crisis. By refusing to do so, he has lost the opportunity to become a crisis President.
In a recent post, I discussed Roberto Magabeira Unger's insistence that we need a wartime President now without a war, one who rallies the nation to change and sacrifice towards a future goal. What Obama has refused to do is present his vision of where we should go. He speaks about change, but doesn't offer a sense of what that change might be. In Jamieson's analysis, he has failed to provide a rhetorical speech that offers us "a digestive sense of what this presidency is going to do."
A digestive statement for Jamieson is something like John F. Kennedy's question: "Ask not what your country can do for you..." As Jameison writes, such statements "sound as if they're sound bites until you realize that there's a definition underlying a presidency in those kinds of statements." Kennedy meant something with his question, something he backed up with the idea of the Peace Corps and public service.
The problem with President Obama's rhetoric, and thus his presidency, is that he has yet to find such a digestive statement that defines what he cares about and what he believes this country is about. As Jamieson writes, there is nothing like Kennedy's invocation of the Peace Corps or communal sacrifice that defines or articulates Obama's vision for America. There is no theme of "transformation of generational identity." She writes: "Indeed, I would challenge you to give me a phrase that is memorable at all, that defines who we are and where we're going under this presidency."
Jamieson's critique of the President is harsh. But I think it is accurate. That is the reason why Romney's claim of disappointment strikes me as powerful. Whether Romney offers an alternative is hard to know, since he himself seems to change his opinions and views weekly. That said, President Obama has his work cut out for him. He must show us that he can articulate a response to the disappointment people feel and provide the hope that he can still get the country back on track, even after three years of failing to do so.
The crises the President inherited are not his fault. It is disgusting to hear Paul Ryan and others blame the President for every problem in the United States. And despite Mitt Romney's impressive past history, his willingness to change his positions regularly and disavow past achievements raises serious questions about his own ability to lead. And yet, it is undeniable that after three years, the financial crisis is still with us and the political crisis is worse than ever. At some point, the President must take responsibility for his failure to address these crises and offer hope that he has a plan to address them in the future. That is the President's challenge during his convention speech next week. To somehow try to answer the criticism that after three years, we still don't know what it is that President Obama believes in and how he wants to respond to the financial and political crisis that he inherited.
In thinking about what the President will say on Thursday, I encourage everyone to read Jamieson's analysis of the past failure of Obama's rhetoric. It is your weekend read. And if you want to think further about the challenge of the president to lead in times of crisis, think about attending the Hannah Arendt Center's upcoming conference, "Does the President Matter?"
Hereford Cathedral Chained Library, Hereford, England .
(Rare books were once kept chained to the bookshelf to prevent stealing.)
Intellectually, though not socially, America and Europe are in the same situation: the thread of tradition is broken, and we must discover the past for ourselves that is, read its authors as though nobody had ever read them before.
-Hannah Arendt, Crisis in Culture
Last spring, I received a call from the director of the Center for Curatorial Studies at Bard asking if I would have lunch with two Swedish artists in town to see the campus and its museum. The artists, part of the YES! Association, a self-declared feminist separatist association for art workers, not only visited the Arendt/Blucher gravesite—a common “attraction” for campus visitors—they sat in on a class at the Hannah Arendt Center, visited Stevenson Library where Arendt’s library and related materials are housed, and began planning ways in which they could interact with the Arendt Center and produce artwork about Hannah Arendt. Åsa Elzén and Malin Arnell, the two representatives from the YES! Association, were not the first visiting artists or curators or other cultural figures who have requested introductions to the Arendt Center and Archives and they certainly won't be the last. Indeed, there will be a dedication ceremony for the new Hannah Arendt Smoking Porch at the Hannah Arendt Center on October 25th, 2012, a porch that is being designed by YES! Association.
The art world interest in Hannah Arendt is growing. There are numerous documentary films made and being made about Hannah Arendt and a new bio-picture by Margarethe von Trotta will premier next month at the Toronto Film Festival. Arendt is regularly quoted and invoked at international biennial exhibitions. Hannah Arendt, it seems, is becoming an important figure in contemporary art.
I say “becoming”, because Arendt is not a name historically associated with the practice or scholarship concerning contemporary or even modern art. Although she does write about art in her essay, “Crisis in Culture: Its Social and Political Significance”, from which I excerpted above, and she did consort with figures such as the famous Modernist art critic, Clement Greenberg, it is only recently that artists, curators, and critics have taken an interest in both her and her scholarship.
I am not concerned about why or how this happened (for instance, is it the result of a more general “political turn” in contemporary art, the interest in art’s political dimension over the past decade? Or is it simply the relevance of her scholarship at this particular moment in time?). Rather, I will reflect on how different cultural producers (artists, curators, critics, etc.) are engaging with her work and take my own opportunity to consider the ways in which her scholarship can be useful for understanding contemporary art that does not directly engage with Arendt or her ideas. The question of judgment will also loom over these posts, that is, how do we assess works of art when we have lost our measures, when we are without a banister?
This idea is echoed in the quotation that was at the start of this post, “the thread of tradition is broken.” Arendt insists upon a distinction between “tradition” and the “past.” Tradition, as a thread that runs through the past, connecting specific events in a sequential manner (as Jerome Kohn puts it so eloquently in his introduction to Between Past and Future), is what has been lost or frayed. The past is not lost. It is up to us to look back again, but in a different way. Not coincidentally, the banner on the YES! Association’s website reads, “We are the world's darkest past, we are giving shape to the future. We will open a new front.” And so it is time to read Hannah Arendt through the lens of contemporary art, and to read Hannah Arendt as a lens onto contemporary art.
I will post regularly about art being produced in and around the Hannah Arendt Center, as well as artwork, exhibitions, and publications relevant to Arendt’s ideas, including a more extensive post on work by the YES! Association.
“No brain at all, some of them [people], only grey fluff that's blown into their heads by mistake, and they don't Think.”
― A.A. Milne, The House at Pooh Corner
“What connects thinking and poetry [Dichten] is metaphor. In philosophy one calls concept what in poetry [Dichtkunst] is called metaphor. Thinking creates its “concepts” out of the visible, in order to designate the invisible.”
-Hannah Arendt, Denktagebuch, vol. 2, p. 728 (August 1969) (translation my own)
Arendt’s Denktagebuch is less a “book” than a collection of “thought fragments”. These fragments, such as the one quoted above, are perhaps best considered not as advocating some position, but as specific angles or starting points from which we are invited to think something through.
All too often, her published works are understood in an “advocatory” fashion. Accordingly, The Human Condition, is sometimes read as a “plea” in favor of the vita activa over and against the vita contemplativa. In fact, however, Arendt explicitly denies that she wishes to reverse the traditional hierarchy between the two ways of life. Rather, she is questioning the conceptual framework within which both ways of life have traditionally been understood.
Hence, I take it to be her aim not only to liberate acting [Handeln] from its being reduced to nothing more than an instrument in the process of making [Herstellen], but, analogously, to liberate the activity of thinking from its being reduced to nothing more than an instrument in the process of cognition culminating in contemplation, in “seeing” the truth which, in turn, serves as blueprint for the process of making. She notes that both the process of making, which uses mute violence, and the end of contemplation, which is reached in a state of speechless wonder, entail a loss of language. As a consequence, the element of speech has disappeared not only from our conception of action (including politics), but also from our conception of thinking (including philosophy).
If not from the model of the passive contemplation, how does Arendt wish to understand the activity of thinking? In my view, there are at least three thinking “motifs” which can be traced throughout her oeuvre. The first, and certainly the best known, is that of “dialectical thinking”, that is, the soundless dialogue between me and myself (“two-in-one”). It is used in The Origins of Totalitarianism, and it keeps recurring in many of her later works, including The Life of the Mind. The second, somewhat less prominent motif is that of “representative thinking”, which denotes the capacity of placing oneself in the perspectives of (more than two) fellow human beings, and which prepares the formation of opinions and judgments. The notion itself occurs for the first time in ‘The Crisis in Culture’ (1960), but it is clearly related to, if not identical with, the “communicative” thinking introduced in her essays on Karl Jaspers a few years earlier.
The third motif, “poetic thinking”, is perhaps the most interesting one. Although she uses the term itself exclusively in her essay on Walter Benjamin (1968), a description of the underlying phenomenon recurs in The Life of the Mind, more specifically in its two chapters on metaphor. Arendt describes the function of metaphor as “turning the mind back to the sensory world in order to illuminate the mind’s non-sensory experiences for which there are no words in any language.” (The Life of the Mind, vol.1, p. 106)
As soon as we realize, as do the poets, that all language is metaphorical, we will, as thinkers, be able to assess the crucial role of our language in bridging the gap between the visible phenomena of the outer world and the invisible concepts of our inner mind. To give an example, by tracing a concept – such as “politics” – to its originally underlying experience – the Greek polis – we will be able to assess whether the way in which we employ it, is “adequate”, that is, whether we actually employ it in any meaningful way, whether it really “makes sense”.
In concluding her chapters on metaphor, Arendt raises the challenging question whether there exists a metaphor that could serve to illuminate the invisible activity of “thinking” itself. The most she is willing to offer, however, is the metaphor of “the sensation of being alive”, of which she herself readily admits that it “remains singularly empty” (idem, p. 124).
Why does she not mention the metaphor of poetry here? In the Denktagebuch fragment quoted above, written while she was preparing The Life of the Mind, Arendt clearly points to a certain correspondence between the role of metaphor in poetry and the role of concept in thinking. Perhaps we may go so far as to suggest that she uses poetry – or rather, since she uses the substantivized German verb “Dichten”, the activity of “making poetry” – as a metaphor for thinking.
However, the word “poetry” itself is derived from the Greek word “poièsis”, which should be rendered as “making” [Herstellen]. Hence, she might have thought that by using poetry as a metaphor for thought, she would have reiterated the traditional problem of the activity of thinking having been overlaid with the contemplative element in the experience of making. Indeed, in The Human Condition, in the section titled ‘The Permanence of the World and the Work of Art’, she seems to imply that writing poetry involves “the same workmanship which, through the primordial instrument of human hands, builds the other durable things of the human artifice.” (The Human Condition, p. 169)
Yet, in the very same section another, more promising, understanding of “poetry” is beginning to emerge. Arendt calls music and poetry “the least “materialistic” of the arts because their “material” consists of sounds and words” – note her use of quotation marks here – and she adds that the workmanship they demand is “kept to a minimum”.
Moreover, after having suggested that the durability of a poem is not so much caused by the fact that it is written down, but by “condensation”, she speaks of poetry as “language spoken in utmost density and concentration” (idem, p. 169). The German word for condensation is “Verdichtung” and for density “Dichte”. While being absent in the English expression of “making poetry”, both words clearly resonate in the German verb “dichten”.
Arendt does not draw any explicit connection between the activity of condensation and the use of metaphor. Still, she might have had it in mind. One page earlier (idem, p. 168), she referred to a poem by Rilke in order to illustrate the “veritable metamorphosis” a work of art is capable of bringing about, being more than a mere reification, more than a matter of “making” in the ordinary sense. Consider especially the second strophe, which simultaneously articulates and demonstrates the power of metaphor in “calling” the invisible:
Here is magic. In the realm of a spell
the common word seems lifted up above...
and yet is really like the call of the male
who calls for the invisible female dove.
Beyond all the silliness attached to the Todd Akin case this week, the only meaningful comment came from Rachel Riederer. In an essay in Guernica, Riederer writes:
The content of [Akin's] statements was, of course, ridiculous and offensive. But the comments struck me most as a rhetorical move, one that’s in wide usage but rarely gets this kind of attention. When asked to defend a difficult and extreme position—his opposition to abortion in all cases, even rape—Akin chose not to explain the values and thoughts behind his position, but to push aside the question with a bogus fact.
The Hannah Arendt Center has been highlighting the ever-increasing tendency of politicians—not to mention academics and others—to replace argument with an attack on the facts. At last Fall's Conference on "Truthtelling: Democracy in an Age Without Facts," we began with the premise that:
We face today a crisis of fact. Facts, as Hannah Arendt saw, are all around us being reduced to opinions; and opinions masquerade as facts. As fact and opinion blur together, the very idea of factual truth falls away. And increasingly the belief in and aspiration for factual truth is being expunged from political argument.
In essays like "Truth and Politics" and "Lying and Politics," as well as in many of her books, Arendt argued that the modern era is particularly vulnerable to attacks on the facts. This is because we live at a time when people have lost the traditions and customs that are the pillars and foundations of their lives. Adrift, people seek certainties that give sense to their world. In such a situation of spiritual homelessness and rootlessness, it is easy to latch onto an ideology that gives clear and simple expressions of a communal truth. And when facts counteract that truth, it is easier to simply deny the fact than to rethink one's intellectual identity.
It is hard not to think about Arendt's analysis of the desire for ideological coherence at the expense of facts as we suffer through the 2012 presidential campaign. The patent lies on both sides feed ideologically driven "bases" that watch the same TV, listen to the same radio, read the same blogs, and live in the same fantasy worlds. Akin's remarks speak to the power of those worlds, but also to their vulnerability. There are limits to fiction in the real world, and that is important to remember as well.
"The book to read is not the one that thinks for you but the one which makes you think.”
― Harper Lee
Image by Kaspen for Anagram Book Shop in Prague.