Hannah Arendt Center for Politics and Humanities
2Apr/130

Amor Mundi 3/31/13

Arendtamormundi

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.

Are Animals One of Us?

animalJohn Jeremiah Sullivan has an essay in the new Lapham's Quarterly on animals. Sullivan begins his essay "One of Us" with this description of studies that upend our view of humankind's unique place in the universe. Against the view that humans are special, that we think differently than animals, and that only humans have consciousness, Sullivan writes, "If we put aside the self-awareness standard-and really, how arbitrary and arrogant is that, to take the attribute of consciousness we happen to possess over all creatures and set it atop the hierarchy, proclaiming it the very definition of consciousness (Georg Christoph Lichtenberg wrote something wise in his notebooks, to the effect of: only a man can draw a self-portrait, but only a man wants to)-it becomes possible to say at least the following: the overwhelming tendency of all this scientific work, of its results, has been toward more consciousness. More species having it, and species having more of it than assumed." For Sullivan, we can no longer rely on an easy distinction between human and animal; on the Arendt Center blog Roger Berkowitz responds.

Writing After Tahrir

typeLast year Stephen Morison Jr. went to Egypt to seek out the country's post-Mubarak literary culture. What he found were people alternately disillusioned and still hopeful, including the short story writer Muhamed "Nebo" Abdelnaby, who told him that, as the possibility of censorship has replaced the reality of corruption, the Western expectations for Egyptian writers has changed little: "They don't want us to be experimental; they don't want us to be a little bit crazy; this is for their writers."

 

 

Traveling America's Arteries

Prison Compound at Angola. Photo by Alan Lomax, 1934.

Prison Compound at Angola. Photo by Alan Lomax, 1934.

John F. Cline recently began a trip that will retrace many of the routes African Americans took from the South into the North in the early parts of the 20th century. One of his first stops was Louisiana's infamous Angola prison, which he was allowed to tour. Among other things, he describes Angola's hospice program, at which inmates care for dying members of the prison population. Cline notes that those who pass are buried with dignity and respect: "when the hospice patients die, they are no longer buried in a corner of the facility in Styrofoam containers: wooden coffins are built in the prison's carpentry shop, covered with hand-quilted palls, and the dead are taken to their graves in a horse-drawn hearse trailed by an inmate procession."

 

The Trial of General Rios Montt

rios

Flickr via Ian Bunn

Aryeh Neier points to the beginnings of Guatemala's proceedings against its former dictator General Efrain Rios Montt as a "repudiation" of America's Latin America policies in the 1980s. This is the first time "a former head of state is being tried for genocide in the courts of his own country." The charges against Rios Montt include the deaths of more than 1,700 Ixils, one of the country's indigenous populations, and his trial includes testimony from Ixil survivors, something that Neier thinks is, of itself, "a remarkable development."

 

Charles Krafft and the Conundrum of Nazi Art

artRachel Arons considers the recent outing of fine artist Charles Krafft as a neo nazi and Holocaust denier. Krafft's work has often included Nazi imagery, which was previously widely believed to have been used ironically. As Arons points out, however, interpreting Krafft, and other artists who appropriate Nazi iconography, has always been complicated. "There isn't," she writes, "a clear line between 'irony' and 'homage' in Krafft's work, and it's a mistake to assume, as many members of the art world apparently have, that an ironic artistic appropriation of Nazi symbols safely amounts to an anti-Nazi critique."

Featured Upcoming N.Y.C. Event

Blogging and the New Public Intellectual

An Ongoing Series of discussions moderated by Roger Berkowitz and Walter Russell Mead.

April 9, 2013 at Bard Graduate Center

David Frum, blogger for

The Daily Beast&

The Huffington Post.

Learn more here.

"David Frum is back. And he's jockeying to be the front and center of the post-Romney American conservative movement". - Eddy Moretti

From the Hannah Arendt Center Blog

 

This week on the blog, Nikita Nelin rites about his experience as a teacher of literature working with students focused on employment and Jeff Jurgens wonders whether Americans will ever understand what the invasion of Iraq meant for Iraqis.

11Jan/130

Infinitely Intoxicating

Louis Pasteur once wrote:

I see everywhere in the world, the inevitable expression of the concept of infinity…. The idea of God is nothing more than one form of the idea of infinity. So long as the mystery of the infinite weighs on the human mind, so long will temples be raised to the cult of the infinite, whether it be called Bramah, Allah, Jehovah, or Jesus…. The Greeks understood the mysterious power of the hidden side of things. They bequethed to us one of the most beautiful words in our language—the word ‘enthusiasm’—En Theos—“A God Within.” The grandeur of human actions is measured by the inspiration from which they spring. Happy is he who hears a god within, and who obeys it. The ideals of art, of science, are lighted by reflection from the infinite.

To bear a god within is not an easy task for us mortals. The god within—even more so than the god without—demands to be obeyed. Having a god inside us—or Socrates like a daimon on our shoulder—is no recipe for happiness.

It can lead to unbearable obligation and even to martyrdom. And, if the god is a muse, it can lead to the travails of the artist.

All great art and all great artists are consumed by the infinite. As Oscar Wilde once wrote, “We are all in the gutter, but some of us are looking up at the stars.” Those are the artists, the ones who amidst the muck feel part of something higher, something everlasting, the infinite.

The great enemy of the infinite is reason. Reason is calculating. It is rational. It is logical. It insists that everything is knowable and comprehensible. Ends justify means. And means can achieve ends. Reason insists on explanation. The self—the mystery—must be made knowable.

David Brooks in the NY Times today lauds the entry of behavioral psychology into politics and policy. We want to know, he writes, how to get people to vote and how to get congress to cut the deficit. If science can tell us how what to put in their drinking water, how to frame the question, what books to read to them in vitro, or how to rewire their brains to be rational, wouldn’t that make policy all the more reasonable? Wouldn’t that be a good thing? 

Science can make us more rational. That of course is the dream of people like Ray Kurzweil as well as the social scientists who insist that humans can be studied like rats. Let’s not object to the fact. We can be studied like rats and that is what university social science departments around the country and the world are doing everyday. This research is eminently useful, as Brooks rightly remarks. If we employ it, we can be made to be more reasonable.

What the rationalization of humanity means, however, is not a question science can answer. Max Weber began the study of the rationalization of mankind when he proposed that the rise of the enlightenment and the age of reason was bringing about an “Entzauberung” or a “de-magicification” of the world. Capitalism emerged at this time for a number of reasons, but one main reason, Weber understood, was that capitalism provided in the profit motive rational and objective criteria for measuring human endeavors. The problem, as Weber so well understood, is that the elevation of reason and rationality brought about the devaluation of all highest values—what Nietzsche would call nihilism. This is because reason, derived from ratio, is always a relation. All values are relative. In such a world, nothing is infinite. Stuck amidst the relations of means and ends, everything is a calculation. All is a game. There is no purpose or meaning to the game of life. As we become more rational, we also become less consumed by the infinite. That is the true danger of the rise of the social sciences and our rationality-consumed culture that insists that all human behavior be made understandable so that it can be made better.

In The Human Condition, Hannah Arendt is concerned with the way that the rise of reason and rationality is challenging the quintessence of the human condition—at least as that human condition has been experienced and known since the dawn of humanity. The rise of the social sciences, she writes over and over, are subjecting the mystery and fecundity of human action to the law of large numbers. While each and every human action may in itself be surprising and mysterious, it is nevertheless true that studied in groups and analyzed over time, human action does fall into comprehensible patterns. The more we study and know these patterns, the more we come to think of humans as predictable animals rather than surprising and spontaneous selves. This sociological and psychological reduction of man to animal is very much at the heart of what Arendt is opposing in her book.

Nowhere is the rationality of our times more visible than in the victory of labor and the marginalization of art. We are, all of us, laborers today. That is why the first question we ask others we meet is: What do you do?  Our labor defines us. It gives our lives meaning in that it assigns us a use and a value. Even professors, judges, and presidents now say regularly: this is my job. By which we mean, don’t blame us for what we do. Don’t hold me to some higher standard. Don’t expect miracles. It is our job to do this. We do this to make a living.

The one group in society who is at times excepted from this reduction to labor is artists. But even the artist is today is taken less and less seriously. Insofar as artists are enthusiasts consumed with the infinite, they are ignored or viewed as marginal. Art is reduced to playfulness. A hobby. “From the standpoint of “making a living,” every activity unconnected with labor becomes a “hobby.””  And those artists who are taken seriously, whose work is bought and sold on the art market, turn artistic work into the job of making a living.

 Art, Arendt writes, is a process of magic. Citing a poem by Rainer Maria Rilke, she insists that the magic of art is the artist’s transfiguration of something ordinary—the canvas, clay or word—into something extraordinary, an expression of the infinite in the finite world of things.

Because art figures the infinite, poetry is the “most human” of the arts and the art that “remains closest to the thought that inspired it.” The poem, of all artworks, is the most lasting because its medium is the least subject to decay. It is the closest expression of the infinite we humans possess.

Ralph Waldo Emerson, whose resonance with Arendt in so many things has been too infrequently remarked, agrees that poetry is the art form in which the individual artist can access and figure in the world a public and common truth. In “The Poet,” Emerson writes:

It is a secret which every intellectual man quickly learns, that beyond the energy of his possessed and conscious intellect, he is capable of a new energy (as of an intellect doubled on itself ), by abandonment to the nature of things; that, beside his privacy of power as an individual man, there is a great public power on which he can draw by unlocking, at all risks, his human doors and suffering the ethereal tides to roll and circulate through him: then he is caught up into the life of the universe; his speech is thunder; his thought is law, and his words are universally intelligible as the plants and animals. The poet knows that he speaks adequately, then, only when he speaks somewhat wildly, or, “with the flower of the mind”; not with the intellect used as an organ but with the intellect released from all service…inebriated by nectar. As the traveler who has lost his way throws his reins on his horse’s neck and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world. For if in any manner we can stimulate this instinct, new passages are opened for us into nature, the mind flows into and through things hardest and highest, and the metamorphosis is possible. This is the reason why bards love wine, mead, narcotics, coffee, tea, opium, the fumes of sandalwood and tobacco, or whatever other species of animal exhilaration. All men avail themselves of such means as they can to add this extraordinary power to their normal powers, and to this end they prize conversation, music, pictures, sculpture, dancing, theaters, traveling, wars, mobs, fires, gaming, politics, or love, or science, or animal intoxication, which are several coarser or finer quasi-mechanical substitutes for the true nectar, which is the ravishment of the intellect by coming nearer to the fact.

I take this quotation from Emerson’s “The Poet” from an exceptional recent essay by Sven Birkirts. The essay appears in the latest edition of Lapham’s Quarterly, an entire issue focusing on the merits and need for inebriation.

As Birkirts writes:

For Emerson, the intoxication is not escape but access, a means of getting closer to “the fact,” which might, with heartfelt imprecision, be called life itself. What he means by “public power,” I think, is something like what Carl Jung and others later meant by the phrase collective unconscious, the emphasis falling on the unconscious, that posited reservoir of our shared archetypes and primordial associations—that which reason by itself cannot fathom, for it is, in essence, antithetical to reason.

Birkirt’s reflects not only on the need for inebriation in the pursuit of artistic infinity, but also on the decreasing potency of intoxicants today. For him, the rise of the mass market in art, the globalization of experience, the accessibility of all information all have made the world smaller, knowable, and accountable. What is lost in such access is precisely the portal to the infinite.

Artistically and in almost every other way ours has become a culture of proliferation. Information, perspectives, as well as the hypercharged clips and images of our global experience are within the radius of the keystroke. Nothing is unspoken, nothing is unaccounted. Every taste is given a niche and every niche is catered to. Here, one might argue, is more material than ever; here are opportunities for even greater acts of synthesis. But I am skeptical. Nietzsche wrote in Thus Spoke Zarathustra, “Nothing is true, everything is permitted.” The temptation is to invert the phrases and ascribe causality: where everything is permitted, nothing is true. Where nothing is true, where is the Emersonian fact to be found? This bears directly on the artist’s task. The idea that writers can keep producing grandly synthesizing or totalizing work—that has the ring of truth, of mattering—is debatable.

Birkirt’s essay may not be the intoxicant of your choice this weekend, but it should be. It is your weekend read. And you might check out the surprising selection at the bar at Lapham’s Quarterly as well.

And for those with time to spare: Arthur Koestler, from whom I first learned of the Louis Pasteur quote at the top of this essay, was consumed with the connection between intoxication and the infinite. I have discussed Koestler’s pursuit of the infinite at length. You can read that discussion here.

-RB

27Sep/113

Prosthetic Gods: Finance and the Future

The new issue of Lapham's Quarterly is out and one of the highlights is "Buying Tomorrow", by Jennifer Szalai. Amidst a tour de force rehearsal of the history of risk and speculation, Szalai writes of the parade of speculative-driven crises over the past three decades. The 2007 crisis was neither unexpected nor unpredictable—in spite of the protestations of shock and surprise by those speculators who cried wolf and begged for a bailout. Also in 1997, the bailout of Long Term Capital Management caught the market unawares.

As one risk manager at Merill Lynch put it then,

"We had no idea they would be in trouble—these people were known for risk management. They had taught it; they designed it. God knows, we were dealing with Nobel Prize winners!"

Szalai's insight goes deeper than simply a lambasting of Wall Street and speculators. What she sees is that the modern art of speculation is itself a progressive faith, one that believes in a quasi religious and mystical way in our ability to peer into the Future, to predict and to control the unknown. We have, she shows, an ever-greater belief in our technological and technical abilities to prepare for and thus improve our fate. As a result,

"Finance has given the future over to mathematics and supercomputers, which, like any other prosthetic god, bring with them the temptations of both recklessness and complacency. Our technologies belong to us; we create them, and they amplify our abilities and our reach, yet we exhibit a strange eagerness to relinquish our dominion over them, endowing them with a monstrous authority that demands our accommodation and surrender."

In the ambivalence toward technology that we both create and submit to, one hears Arendt's own insight that we humans possess a deep desire to overcome our human limitations. What Arendt worried about—already in in The Human Condition in 1958—was that we were finally nearing the stage of technological development when we seek to replace our human fallibility with an inhuman rationality. Clearly we have not yet reached that stage—if we ever will. Arendt did not think we would ever live in a fully inhuman world.

And yet, the desire to perfect ourselves persists, along with our human shame at our imperfections. We yearn to control and master the future, and one corollary of that is our deep wish to cede control over our lives to the hyper-rationality, objectivity, and reliability of machines. Machines do not get tired and do not make sloppy mistakes. Machines are not biased, and they don't cloud their judgments with emotions. It is for this reason that we are increasingly turning to machines to make our most important judgments—drive our cars, diagnose our illnesses, and write our news articles. Not only finance has "given the future over to mathematics and supercomputers," but also love and death are now to be subject to risk analysis, algorithmic prediction, and computer predictability.

As we give over our future to machines, do we, as Marshall McLuhan wrote, give ourselves over to our inventions, and thus become slaves to ourselves? This is Szalai's conclusion. And yes, we are succumbing to our machines, the very machines we design and build. In doing so, we abandon our human freedom to our equally human desire for security and certainty. In Szalai's words, we give ourselves up to our "perverse urge to lose our uncomfortable selves."  In doing so, in abandoning our human faculty of judgment to machines, we gain a measure of control, but we risk losing the activity of judgment that is the core of humanity.

-RB