Hannah Arendt Center for Politics and Humanities
23Jun/140

Amor Mundi 6/22/14

Amor Mundi

Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

Black in the Age of Mechanical Reproduction

1Hilton Als, in reviewing a new book co-edited by Harvard professor Henry Louis Gates, Jr. entitled The Image of the Black In Western Art, The Twentieth Century: The Impact of Africa, is struck by a particular painting, Portrait of Tonia Stieltjes by the Dutch artist Jan Sluyters. The book focuses broadly on “image of the black during the age of mechanical reproduction and how it changed, was modernized, denigrated, and, often, fetishized.” Als, however, fixes on the singular humanity of one portrait: “Tonia’s grave face is powdered white, as was the fashion of the time, but then there is her ‘real’ skin and her style, which is something ‘other.’ My imagination reacts to those levels of density and nonverbal expression more readily than to portraits of black people by artists ranging from Goldie White to Brent Malone. I find their work predictable: it elevates blackness to a kind of folkloric purity and strength that doesn’t allow for labyrinthine humanness, or for the fact that most blacks come from some place they don’t know but, like Tonia, make themselves up out of the whole cloth of Europe, or Africa, or whatever temporary home will have them.... It’s Tonia’s isolation in public, the theatricalization of her different self through paint and dress, that encompasses so much of what makes the black in Western art incalculably lonely, unknowable, troubling, and, sometimes, beautiful, just like other people.”

Speaking Truth to Power

1In the New Republic, Christopher Ketcham makes the case that journalist idol Chris Hedges has a plagiarism problem. Ketcham's account, though bordering on the tedious, overly personal, and the monomaniacal, seems to make its case. It has recently been given further support by a long post by Adam Weinstein at Gawker, which both uncovers further instances of plagiarism and argues that Hedges habitually recycles 1000s of words of his own writing and even whole articles in longer articles and books that he claims to be original work. Hedges forcefully denies Ketcham’s charges and has written a response here that also includes responses from Ketcham and The New Republic. Ketcham’s thesis is that Hedges’s plagiarism must be outed to protect the integrity of journalism, an argument he puts in the words of a journalism expert: “Trust is a journalist’s and journalism’s most precious commodity…if there is even a hint of the possibility that misconduct was covered up, it’s even worse. Journalism will take another hit.” That is true. But equally central to this story is the nature of power. Hedges has said, “You have a choice between which two sets of principles you serve. Justice and truth or privilege and power…. The more you make concessions to those whose fealty is to privilege and power, the more you diminish the capacity for justice and truth.” He is so right. Admirably, Hedges has stood up for his principles, angering the right and the left, and always speaking his mind. We need more publicly courageous intellectuals like Hedges. But in his belief in his own importance to the cause for which he fights, Hedges has not only made mistakes (which can be forgiven) but also has refused to own up to his mistakes and instead has sought to drown out his critics with bluster. His response suggests that privilege and power may mean more to Hedges than he lets on.

Osmotic Learning

1In an interview with Granta, cartoonist Adrian Tomine discusses the value of a very informal education: "I've learned a lot of tangible, practical things from studying all kinds of things: comics, illustration, movies, prose, etc. But I think I've learned more from just hanging around creative people and talking to them and learning from their example. I suppose I'm talking about the kind of osmotic learning that comes from getting to know other artists (or writers or musicians or whatever). If you go over to the house of someone whose work you admire, and you look at their bookshelves and ask about things that jump out at you, that right there can be kind of an education. I've even learned a lot from just going to an art store with other cartoonists. Invariably they'll know about some drafting tool I'd never heard of, or have some preference for some brand of ink that they've arrived at after years of trial and error. And on a broader scale, it's really useful to watch how someone - especially someone who's been at it for longer - deals with issues that arise in their art and just in life in general."

The Beautiful Game as an Expression of National Character

1In the midst of the international frenzy of the World Cup, Matthew Futterman describes USA's German-born coach Jürgen Klinsmann as soccer's "Alexis de Tocqueville," endeavoring to create an American style of the game, saying that "he wanted to create a squad that represented what he sees as the defining American characteristic-a visceral hatred of being dictated to." Since, paradoxically, this change came from the top down, it, of course, turned out to be more difficult than easy.

I Come to Praise the CPA, Not to Bury Him

1Jacob Soll yearns for the heroic accountant of the early modern Dutch, for whom keeping one's books in order took on a spiritual meaning: "Double-entry accounting made it possible to calculate profit and capital and for managers, investors, and authorities to verify books. But at the time, it also had a moral implication. Keeping one's books balanced wasn't simply a matter of law, but an imitation of God, who kept moral accounts of humanity and tallied them in the Books of Life and Death. It was a financial technique whose power lay beyond the accountants, and beyond even the wealthy people who employed them. Accounting was closely tied to the notion of human audits and spiritual reckonings. Dutch artists began to paint what could be called a warning genre of accounting paintings. In Jan Provoost's 'Death and Merchant,' a businessman sits behind his sacks of gold doing his books, but he cannot balance them, for there is a missing entry. He reaches out for payment, not from the man who owes him the money, but from the grim reaper, death himself, the only one who can pay the final debts and balance the books. The message is clear: Humans cannot truly balance their books in the end, for they are accountable to the final auditor."

My Neighbor Marcel

1Alexandra Schwartz, riffing off the recent release of a book documenting Marcel Proust's letters to his upstairs neighbor, considers the loneliness and alienation of the city's crowd and remembers that, far from the mere writer of In Search of Lost Time, Proust was a real person who lived under neighbors whose loud banging sometimes annoyed him, too. Here is one such missive sent upstairs by Proust: "Madame, I hope you won't find me too indiscreet. There's been a lot of noise these past few days and as I'm not well, I'm more sensitive to it.... If the hammering must be done in the morning, might it be done in the part of your apartment that is above my kitchen, not my bedroom.... If there's too much noise on Sunday morning I won't be able to get out of bed until the afternoon." Schwartz adds, "We who toss and turn, fantasizing about the exquisitely cutting emails we'll never have the guts to send to the invisible others keeping us awake, are happy to have him on our team."

From the Hannah Arendt Center Blog

This week on the Blog, Christopher C. Robinson discusses intergenerational justice and the ecological crisis in the Quote of the Week. Lord Byron provides this week's Thought on Thinking. And Roger Berkowitz discusses the conscience of Edward Snowden in the Weekend Read.

22Feb/131

Federalism and the Crisis of Politics

Federalism should not be a partisan issue. This has been forgotten as the Federalist Society has turned federalism into a rhetorical sledgehammer to bludgeon liberal policies. But rightly understood, federalism is about freedom. 

Federalism promotes freedom for at least two reasons. First, because citizens will only act and speak in public when they believe their actions will be seen and heard.

The smaller the stage, the more likely is action to be meaningful. If freedom and action are the same, as Arendt writes, then we should be wary of the erosion of federalism. Only when local political institutions have meaningful power will they attract citizens to become politically involved. The danger in the loss of federalism today is the increasing sense that individual citizens have little if any power, which leads to cynicism and apathy.

We can see this cynicism and apathy, surprisingly, in Occupy Wall Street. The fact that Occupy Wall Street became a protest movement, and not an alternative locus of power, is at least partly the result of the fact that local power structures have been rendered increasingly impotent by the vampire squid of national power. As people rightly feel ever-more alienated from political institutions that can make a difference, they retreat from politics. Why did Occupy eschew local politics? Why did it seek a megaphone on the national stage instead of working in the pits of village, town, and state politics? Because everyone knows that the power of local institutions has been decimated. The result is a feeling of powerlessness and hopelessness; the present response is to embrace an ethic of permanent protest as the only meaningful way to personal empowerment. But the elevation of protest to the apogee of political action in Occupy Wall Street is, unfortunately, just another example of the vanishing of politics in our time.

The second way federalism promotes freedom is through constitutional structure. The best way to prevent government from attaining totalitarian or tyrannical power is, as Arendt argues, to multiply the sources of political power. Arendt credits the United States Constitution because it created not only the division of powers on the federal level, but also the constitutional federalism of the early Republic. By empowering states, counties, towns, and villages, the United States Constitution ensured that nearly every citizen would have both opportunity and reason to act in public and to engage in politics.

Arendt’s thoughts on the freedom found in federalism come to mind as I’ve been reading—at the urging of my colleague David Kettler—the classic Small Town in Mass Society, by Arthur J. Vidich and Joseph Bensman. Originally published in 1958, Small Town in Mass Society is still an important and now sadly forgotten book. The argument, in short, is that local towns and villages are losing their distinctiveness. Studying class, religion, power, and politics in small town America, Vidich and Bensman argue that local governments are voluntarily abandoning the political powers they constitutionally possess and thus emptying their lives of meaningful political engagement.

What Vidich and Bensman find is a fundamental contradiction between the way that small town culture sees itself and the way it actually exists in mass society. In their self-image, the residents of “Springdale”—the name for the town they study— think of themselves as a community. They distinguish themselves from “urban dwellers” who are anonymous. They imagine that “Here no man counts more than any other.” “It is unthinkable for anyone to pass a person on the street without exchanging greetings;”

 “Almost all of rural life receives its justification on the basis of the direct and personal and human feelings that guide people’s relations with each other.” And, above all, the Springdale residents of rural New York see themselves as independent from urban-mass society:

While he realizes that machinery and factory products are essential to his standard of life and that taxation and agricultural policy are important, he feels that he is independent of other features of industrial and urban life, or, better, that he can choose and select only the best parts. The simple physical separation from the city and the open rural atmosphere make it possible to avoid the problems inherent in city life.

Against this feeling of independence, Vidich and Bensman argue that small towns are actually part of and integrated into mass society to an extent that their self-image cannot and will not admit. Against the view that Springdalers can choose those parts of mass society they want and reject the rest, Vidich and Bensman argue that they are more influenced and subjected to mass society.

In almost all aspects of culture, even to speech forms, and including technology, literature, fashions and fads, as well as patterns of consumption, to mention a few, the small town tends to reflect the contemporary mass society.  Basically, a historically indigenous local culture does not seem to exist.

For our purposes, one telling section of Small Town in Mass Society is called “The Political Surrender to Mass Society.” While Springdale has a local government and possesses the power of taxation and governance, the authors argue that the town seeks at nearly every turn to abdicate self-governance. Examples include:

 •“Solutions to the problem of fire protection are found in agreements with regionally organized fire districts.”
•The town prefers to have its road signs provided in standard form by state agencies “without cost to the taxpayer[s]” in Springdale.
•Springdale accepts the state’s rules and regulations on roads built and maintained by the state. It works with the foreman of the state highway maintenance crew to have his teams clear village roads, thus saving the expense of organizing and paying for this as a town.
• State construction programs “present local political agencies with the alternative of either accepting or rejecting proposed road plans and programs formulated by the state highway department.”
•The town at every point adjusts its actions to the regulations and laws defined by state and federal agencies; or they accede to the rule of these outside agencies because the agencies have the power to withhold subsidies.

What Springdale actually does in its own politics is forego self-governance and submit itself to outside control. It repeatedly accepts grants of aid offered by the state and subsidies by the state, even when such aid comes with strings and demands for control. The result is that the “village board in Springdale accepts few of the powers given to it. Instead, it orients its action to the facilities and subsidies controlled and dispensed by other agencies and, by virtue of this, forfeits its own political power.”  What is more, this economic and political dependence leads to a “habituation to outside control to the point where the town and village governments find it hard to act even where they have the power.”

For Vidich and Bensman, the loss of local power leads to a psychologically damaging sense of dependence on outside agencies, bureaucracies, and governments.

“State police, regionally organized fire districts, state welfare agencies, the state highway department, the state youth commission, the state conservation department—these agencies and others are central to the daily functioning of the village.” There is a “pattern of dependence,” according to which the “important decisions are made for Springdale by outside agencies.” On the one hand, Springdalers resent these services provided by outsiders because they negate the local villagers’ self image as independent. But the villagers accept these services “because they are free or because acceptance of them carries with it monetary grants-in-aid for the local community.”

The conclusion Vidich and Bensman reach is that the Springdale town government does increasingly little. It seeks whenever possible to avoid providing services itself—e.g. snow or garbage removal. Instead, it seeks to have these services provided by the state in order to avoid having to raise taxes. The ultimate result is the “avoidance of innovation and the minimization of decision.” The village “tends to limit its function to the conduct of routine “housekeeping” business.” “It is a common complaint among all groups in the community that the village board does nothing.”

This political irrelevance at the local level is radical change from the American tradition of citizen democracy. When Alexis de Tocqueville visited America in the 19th century, he was impressed by the active participation of citizens in local government. 100 years later, when Hannah Arendt arrived in the United States, she too was amazed by the sense of common citizens that their voice mattered in politics.

Shortly after Arendt’s arrival, she traveled to a provincial town in Massachusetts to live with a family as a way of learning everyday English and experiencing something of American mores. While she had little in common with this family whose puritanical ways clashed with her own, she was captivated by them and by what Antonia Grunenberg has called their republican self-consciousness.

Arendt described her host family to Karl Jaspers as "thoroughly average people—what would have been called 'petty bourgeoisie' in Germany." And yet, these average Americans embodied the American love of freedom that so impressed Arendt. As she wrote to Jaspers shortly after they resumed contact in 1946:

There is much I could say about America. There really is such a thing as freedom here and a strong feeling among many people that one cannot live without freedom. The republic is not a vapid illusion, and the fact that there is no national state and no truly national tradition creates an atmosphere of freedom or at least one not pervaded by fanaticism. (Because of the strong need the various immigrant groups feel to maintain their identity, the melting pot is in large part not even an ideal, much less a reality.) Then, too, people here feel themselves responsible for public life to an extent I have never seen in any European country. For example, when all Americans of Japanese descent were locked up willy-nilly in concentration camps at the beginning of the war, a genuine storm of protest that can still be felt today went through the country. I was visiting with an American family in New England at the time. They were thoroughly average people--what would have been called 'petty bourgeoisie' in Germany—and they had, I'm' sure, never laid eyes on a Japanese in their lives. As I later learned, they and many of their friends wrote immediately and spontaneously to their congressmen, insisted on the constitutional rights of all Americans regardless of national background, and declared that if something like that could happen, they no longer felt safe themselves (these people were of Anglo-Saxon background, and their families had been in this country for generations), etc.

The extraordinary embrace of political freedom in America had a flip side, namely social oppression: To allow people local rule and governance means that parochial and racist communities can oppress minorities and impose socially conservative mores. There is a fundamental tradeoff between political freedom and social oppression. But Arendt thought the choice was easy: social oppression is simply a cost of what she came to see as the miracle of America.

For Arendt, America embodied, in Leon Botstein’s words, "a federal system of government not based on race or designed to rectify social inequalities, but established to ensure political equality among all citizens, to maintain the freedom of the public realm, social differences notwithstanding."

America, in Arendt's writing and especially in her book On Revolution, is an enduring image of public freedom that so animates her life-long thinking.

Occupy Wall Street failed for many reasons. Above all, however, it failed because even at a time when our democratic and representative institutions are seen as corrupt and broken, OWS offered no meaningful alternative. It failed, therefore, in the basic requirement of any truly revolutionary political movement: to pick up power when it is lying the streets, as Arendt writes in On Violence. And one reason it did so is that we have all lost the basic experience of citizenship and freedom that Arendt so valued when she arrived in America. If we are to resurrect such a practice and habit of citizen-politics, we need to reinvigorate local politics. But we can only do that if we reclaim federalism as a matter of freedom outside of partisan debates.

One first step is to confront honestly and clearly the depth of the loss of political power in America. This has become difficult because federalism and local power have been politicized and polarized. We need to move beyond that. To do so, there are few better books that Small Town in Mass Society. It is your weekend read. And if you cannot get the book, take a look at their article The New Middle Classes: Their Cultures and Life Styles.

For other posts on the connection between Federalism, Power, and Freedom, see “Power, Persuasion, and Organization” and “The Supreme Court as Truthteller.”

 -RB

6Feb/130

“If”

My girlfriend and I walked by a clothing storefront and noticed the print on some of the t-shirts at the lower right corner of the window and went in. She had mentioned this Imaginary Foundation (IF) before. They make print t-shirts.

I went to school at an expensive liberal arts college in the Hudson Valley—everyone there makes print t-shirts. It is like a business you start as a college sophomore as a way to convince yourself that you are a ‘creative entrepreneur’ before you enter the corporate world (or, alternatively, as a penance for inherited culture and comfort) the not-for-profit world.

Often, I cannot stand them —the print t-shirts. There is something out of shape about them, as if the juxtaposition of body/shirt/image, sets askew some intrinsic agreement in the marriage of fashion and identity. And yet, the IF designs spoke to me. There is something dreamy and yet sincere about these prints. If le petit prince was looking for a print t-shirt, he would buy one of these.

It just so happened that the owner of the company was visiting this Seattle distributor and was in the store. He was awkward, skittish and European. I liked him, and before we left I told him that I blog for a thinking and humanities institute out east and may want to write about his brand. That’s how I got into the Imaginary Foundation.

The shirts are not exactly ‘pretty,’ or ‘fashionable,’ rather, their attraction is a gesture beyond themselves -- a rare feat in a culture that positions branding as the apex of success. I’ll describe one shirt and if interested you can invest your own time in the Imaginary Foundation.

The “Being There” shirt has three anonymous human heads (one of the cloud suit, one of the water suit, and one of the fire suit). The heads are in peripheral view and are aligned, with a slight skew (allowing us the view of all three faces), as they break through a wall, the veil of the universe.

Other shirts handle concepts of psychosis and love “Love Science,” science and discovery in a reach towards heaven “Reach,” and other such concepts widely considered esoteric or cliché within the lens of our popular culture. But, we no longer understand what a ‘cliché’ is. I have long held the view that a cliché is a truth, or a point of interest and perspective insight, that has simply been worn out by overexposure. But who has worn it out? How have we taken the liberty and quiet pleasure of the private sphere (the realms of reflection, contemplation, meditation as it is thought of in the Greek terms), out of our living cycle, our consciousness, our daily existence? Why is the call for private contemplation no longer a necessity of existence? It seems we should have more time then ever for such practices. So many of our daily chores, our basic needs, are met through the economic matrix. I no longer have to chop wood for warmth, hunt a boar for food, trek down to the river for a water simply, etc... Why shouldn’t I spend more time in private contemplation, or even public conversation on these more subtle topics of the human necessity? Why shouldn’t I be making something in an effort to communicate those private necessities? The actualization of the humanist requires space for such a practice. And yet, anything that requires a slowing down of, a calling for the work of the mind and private reasoning, is now, quite often immediately, labeled a cliché.

In The Human Condition Arendt writes “The emancipation of labor and the concomitant emancipation of the laboring classes from oppression and exploitation certainly means progress in the direction of non-violence. It is much less certain that it was also progress in the direction of freedom.” She is not saying that laboring classes should not have been emancipated. Rather, that the humanist goal has been blurred by some glitch. Instead of moving towards freedom from wasteful labor (a waste of human power -- physical, mental, spiritual) we instead have emancipated labor. Most of us have become imprisoned in a non-sustainable cycle that for the continuation of its forward motion requires an ever-increasing consumption and waste. This waste can be seen in terms of power. The core power of the human psyche originates in the liberty of free private thoughts—a psychological space for contemplation. A mapping of one’s stillness that is only possible in the acquisition of free time. Free time is a result of freedom from labors necessity. What Arendt’s thoughts gesture towards is that the set of basic necessities that we have been freed from, have been replaced by another, far more complicated and disguised set—the necessity to perpetuate a system that is moving much faster then us; a necessity to consume and continue consuming. To be ‘a part of‘ is, today, to be a consumer—to take ones place in the labor of waste.

Oh right, I wanted to tell you about a product...

“IF” is a creative project. It gains the viewers attention and borrows the imagination. This is a beginning. It does not steal, it borrows. It suggests the prospect of resonance rather than ownership.

I checked out the company website. The “about” page describes the development of the Imaginary Foundation: “a think tank from Switzerland that does experimental research on new ways of thinking and the power of the imagination. They hold dear a belief in human potential and seek progress in all directions.” The page is dotted with black and white images from the sixties, shaggy haired men and turtle-neck clad women engaged in contemplative, laissez-faire, light spirited dialogue. The imaginary director of the foundation is described as a “70-something uber-intellectual whose father founded the Dadaist movement.” The foundation is imaginary. It is a base, a canvas, for the products (the t-shirts) and the ideas behind them.

The blog section of the site imagines a list of contributors: Isadore Muggll, Kamilla Rousseau, etc. These architects, as is the back story, are too imaginary. “IF” is a fictional foundation for the product. But the product is real and engaging.

What is captured here goes beyond the tangible properties of the product (t-shirts). It is about what the product delivers—the wonder of creativity and science, the archetypes of the IF.  Imagination IS the foundation of this product.

The blog itself is a venue for artists who marry technology and art, as well as other thought provoking materials. The image I use at the head of this article is taken from the blog. Cloud, idea, light, community, play—IF: all these are represented in the Cloud installation. This art installation is a discovery I am brought to by the Imaginary Foundation.

I once taught a course on the development of contemporary advertising, heavily focused on Edward Bernays and the peripheral route of persuasion. Bernays was Sigmund Freud’s nephew, Woodrow Wilson’s image advisor, the father of the term "Public Relations," and the architect of the torches of freedom (Lucky Strikes) campaign, among many others. His theory, though terribly simplified here, was that the modern consumer does not purchase with his mind; rather, he defers to his emotions in most choices. The rational-actor is a fiction. If consumerism became god, branding became its religion.

Ad campaigns have become remarkably creative, and even, at times, beautiful. Have you ever felt the urge to cry during a Jeep commercial? Many have. I think I have. The central conceptual premise of the AMC show Mad Men, depends upon this tension: between art and consumption; the rendering from black and white, to color; the effective marketing and selling off of the human experience. In question is the art aspect of advertising. It is at the core of Don Draper’s motivations, and the one that despite his many character failings keeps endearing him to us. Ultimately we are asking, will he reconcile his artistic urge (his private motivation) with his office at the homunculus of the consumerism model (his role in the corporate arena). Exposed is a manipulation, an incongruence, an infidelity in the marriage of advertising and art. Where as art points towards something beyond itself, beyond even the image and the medium, the ad campaign points only to one purpose—back into itself. No idea behind it. Nothing living. It consumes.

Advertising is like the Ouroboros, the dragon that swallows its own tail; having entirely swallowed itself, the modern advertising campaign defies the laws of balance, it is only the un-relentless, hungry serpent head of consumption -- devoid of the body of life. The only urge driving it is to possess.

It is the difference between the work of Egon Schiele and Penthouse, the writings of Georges Bataille and a godaddy.com super bowl campaign.

Seduce ->consume. This is the current mandate of the ad campaign. But this relationship is only sustainable through incompletion. It requires continual doses. Seduce -> consume -> feel a lack even in the possession of product (contract unfulfilled) -> be seduced again -> consume. Ad infinitum. A terrible loop.

How can consumerism and individual consciousness (the most private sector) be made sustainable? Is it possible for a product to speak beyond itself? To fulfill the promise of its persuasion? And if it could, what would that mean for us?

Here I position the word sustainability to face two directions. In part it refers to what Arendt terms as “worldly,” the creation produced through work and not labor, something that has the potential to last beyond the productions of time, something that maneuvers into the arena of the eternal. I also want to posit the word in terms of its evolving contemporary potential. The one sector of the public, and political sphere that allows for the platform of this conversation is the environmental movement. It is where we have begun to contemplate the world beyond the shortsighted view of individual lifetimes. We speak of the sustainability of our planet; we are considering new ways to move our habits from wasteful and consumptive, towards lasting and sustainable power. It is a fairly new conversation and the word “sustainability” is evolving with each new perspective we bring to it.

Sustainability goes beyond consumer awareness. It is about the awareness of the product, how a brand gains consciousness. I need to explore here a definition of “consciousness.”

I have come to understand definitions as ever evolving in accordance with society and the pressures put upon it by the conditions of the time, the fractals of our world (more simply put, the culture stew).

Consciousness is the expanding of space into which one can resonate. To learn of the world around us, to acknowledge it, to consider its multiple dimensions, is to become more conscious -- to create space into which we can move by the will of our imagination and invention.

The Imaginary Foundation is an example of this bridge. It acknowledges itself and its fiction. It allows for play. It is a small company that uses the fabrication of its narrative to bring the consumers attention to the mimetic principles behind its product. Revealing the architects conceit brings me (the consumer) into co-authorship of the story. It endears itself to me. We do not only consume the product. We consume the narrative of the product. Even if I do not purchase, if I am thinking about it, I am talking about it, I have bought in. If it generates new ideas and deeper order thoughts, then I have begun to take ownership of the product. I consume the myth, I begin to co-author it -- I don it in the neural network of culture. And thus the product has gained consciousness, has begun to be carried beyond the object -- it resonates.

My study of this product is limited. I am not encouraging anyone here to purchase a shirt. I have not purchased a shirt. What I think this opens up is a table for negotiations between the current consumerism model, and individual consciousness—an opportunity to examine sustainable consumerism in all implications.

-Nikita Nelin