"And it's a human need to be told stories. The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we came from, and what might be possible."
-- Alan Rickman
Alan Rickman's Biography
Born February 21, 1946, in West London, England, Alan Rickman showed an early penchant for the performing arts. He cut his teeth as an actor in 1978, when he joined the Royal Shakespeare Company. He earned a Tony Award nomination as the star of 1988's Les Liaisons Dangereuses, then came to American consciousness that same year as terrorist Hans Gruber in the big-screen blockbuster Die Hard. His film credits include the notable Harry Potter series, as well as Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street (2007) and Alice in Wonderland (2010). Rickman died of cancer on January 14, 2016.
To read additional Thoughts on Thinking, please click here.
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.
Looking for scandal, the press is focusing on the apparent conflict between Chief Justice John Roberts and Justice Sonia Sotomayor. But the case of Schuette v. Coalition to Defend Affirmative Action is more important than the scandal. It raises fundamental questions about the democracy, race and the constitution. Sonia Sotomayor, in her dissent, writes: "And race matters for reasons that really are only skin deep, that cannot be discussed any other way, and that cannot be wished away. Race matters to a young man's view of society when he spends his teenage years watching others tense up as he passes, no matter the neighborhood where he grew up. Race matters to a young woman's sense of self when she states her hometown, and then is pressed, 'No, where are you really from?', regardless of how many generations her family has been in the country. Race matters to a young person addressed by a stranger in a foreign language, which he does not understand because only English was spoken at home. Race matters because of the slights, the snickers, the silent judgments that reinforce that most crippling of thoughts: 'I do not belong here.'" John Roberts, in his concurring opinion, responds: "The dissent states that "[t]he way to stop discrimination on the basis of race is to speak openly and candidly on the subject of race." And it urges that "[r]ace matters because of the slights, the snickers, the silent judgments that reinforce that most crippling of thoughts: 'I do not belong here.'" But it is not "out of touch with reality" to conclude that racial preferences may themselves have the debilitating effect of reinforcing precisely that doubt, and-if so-that the preferences do more harm than good. To disagree with the dissent's views on the costs and benefits of racial preferences is not to "wish away, rather than confront" racial inequality. People can disagree in good faith on this issue, but it similarly does more harm than good to question the openness and candor of those on either side of the debate. Both opinions are worth reading. And read more about them in The Weekend Read.
Pope Francis I has declared two prior popes Saints. One is well known, Pope John Paul II. But Pope John XXIII is perhaps forgotten by many. As NPR reports, "John XXIII, also known as 'Good Pope John,' was nearly 77 at his coronation and, because of his advanced age, was widely regarded as a 'stopgap' pope who wasn't going to make waves. Instead, he called the Vatican II Council, which promulgated one of the most far-reaching and controversial reforms in the Roman Catholic Church's history." John XXIII also published a little book Journal of a Soul, which Hannah Arendt reviewed for the New York Review of Books. For the Jewish thinker, Good Pope John is a Christian Pope, one of the few. Arendt tells of a "Roman chambermaid" in a hotel who asked her, in all innocence: "Madam," she said, "this Pope was a real Christian. How could that be? And how could it happen that a true Christian would sit on St. Peter's chair? Didn't he first have to be appointed Bishop, and Archbishop, and Cardinal, until he finally was elected to be Pope? Had nobody been aware of who he was?" Arendt had a simple answer for the maid. "No." She writes that Pope John was largely unknown upon his selection and arrived as an outsider. He was, in the words of her title, a true Christian living in the spirit of Jesus Christ. In a sense, this was so surprising in the midst of the 20th century that no one had imagined it to be possible, and the Good Pope John was selected without anyone knowing who he was. On the day of Pope John XXIII's Sainthood, it is worth revisiting Arendt's full review.
Taking Hannah Arendt's quote, "There are no dangerous thoughts; thinking itself is dangerous," as its starting point, the Canadian Public Radio show Ideas with Paul Kennedy explores Hannah Arendt's Eichmann in Jerusalem. The program features Roger Berkowitz, Adam Gopnik, Adam Kirsch, and Rivka Galchen. The conversation was heated at times, but overall offers a good account of Arendt's book, her thoughts on thinking, and the reason her thought matters. Take some time to listen to program.
Patricia Lockwood, at the Poetry Foundation blog, seems to be tired of being asked if poetry is work: "IS it work, though? The question persists. Is a single muscle exerted during the process? Do you sweat at all, besides the weird thing that sometimes happens under your right arm because you haven't lifted it up for 8 hours? Do you get to retire after you work at it faithfully for 50 years? The answers are no, no, and no. Can anyone fire a poet? Only Death can fire a poet." She is, of course, making a joke. For Arendt, though, poetry, and art more generally, is in fact work. Indeed, making art may be the last vestige of work in a world where the primary activity of life has become the repetitive, never ending, activity of consumption, in which nothing is left behind and all labor seeks only to further the process of consumption. Poetry, and painting, and art are outliers in the modern world to the extent they leave something behind and resist the process of consumption.
"So far, the year 2014 has been a tumultuous one, as geopolitical rivalries have stormed back to center stage. Whether it is Russian forces seizing Crimea, China making aggressive claims in its coastal waters, Japan responding with an increasingly assertive strategy of its own, or Iran trying to use its alliances with Syria and Hezbollah to dominate the Middle East, old-fashioned power plays are back in international relations." Walter Russell Mead believes that geopolitics, never really gone, is back for good: "Westerners should never have expected old-fashioned geopolitics to go away. They did so only because they fundamentally misread what the collapse of the Soviet Union meant: the ideological triumph of liberal capitalist democracy over communism, not the obsolescence of hard power. China, Iran, and Russia never bought into the geopolitical settlement that followed the Cold War, and they are making increasingly forceful attempts to overturn it. That process will not be peaceful, and whether or not the revisionists succeed, their efforts have already shaken the balance of power and changed the dynamics of international politics.
On the occasion of the publication of a biography of the author, Hermione Lee describes what John Updike was up to: "As he said of himself... he is the artist of middleness, ordinariness, in-betweenness, who famously wanted 'to give the mundane its beautiful due.' For over half a century-even though his own life moved far away from 'middleness';-he transformed everyday America into lavishly eloquent and observant language. This-even more than his virtuoso writing about sex, his close readings of adultery and husbandly guilt, his tracking of American social politics, his philosophizing on time and the universe-is his great signature tune. No wonder that some of the narrators in his stories are archaeologists, or that he's so interested in vanished cities, ancient civilizations, and extinct species."
On the 450th birthday of William Shakespeare, Bob Duggan remembers that what are understood as his great contributions now were not his most well known plays during his life: "During Shakespeare's own lifetime he was known best as the "honey-tongued" poet of such works as Venus and Adonis and The Rape of Lucrece, in which he used classical and ancient characters to his own artistic purposes as well as practical purposes of making money during the plague-forced theater closures of 1593-1594. Readers literally read published copies of these works to pieces, making surviving copies extremely rare today. People went to see the plays, of course, but the emphasis of the theaters was on making money as much as making art."
Eric Hoover, in an essay about the ways that colleges and universities may begin to evaluate students, describes one measure designed to quantify the information in a recommendation: "Motivated by such findings, the Educational Training Service developed an online rating tool called the Personal Potential Index. Designed to quantify what's conveyed in a recommendation, it asks past instructors to rate students on a five-point scale in six categories: communication skills, ethics and integrity, knowledge and creativity, planning and organization, resilience, and teamwork. To gauge resilience, for instance, respondents are asked to what extent a student 'accepts feedback without getting defensive; works well under stress; can overcome challenges and setbacks; works extremely hard'. Recommenders can type in comments to elaborate on their ratings, if they choose." Adding comments, of course, is not the same thing as real qualitative assessment; perhaps, instead of attempting to replace the tests, institutions of higher education should abandon that requirement altogether, and instead evaluate students as students, rather than as data.
This week on the blog we revisit Tracy Strong’s Quote of the Week on “Thinking Without Bannisters.” And in the Weekend Read, Roger Berkowitz looks at the relation of race, democracy, and the constitution in Schuette decision.
Hannah Arendt spoke of having acquired, through her life, a "love of the world." When writing about education she argues that "education is the point at which we decide whether we love the world enough to assume responsibility for it." And in politics, she insists, we must care for and love the world more than oneself. What then is the world?
The world is related to human making and to the things and artifacts that human beings make. What defines the things of a world is that those things gather individuals together.
In the public realm, a politician is that person who speaks and acts in such a way that those around him come to see those institutions and values that they share and treasure. The common world is the world that emerges when a plurality of people bind themselves to stories, traditions, institutions, rituals, and practices that they share and that they love. Like a table that unites those who sit around it in a common conversation or feast, the common world brings different people together. It stands between them, both joining and separating them.
In the private realm, a world is founded in property, and property has an essential role in the public realm too. For property is what one owns, what is proper to one, and thus defines one over against others in the common world. Property provides the boundaries between people and also serves as the boundary between the commonality of the public realm and the uniqueness of the private realm. It is no accident that original Greek word for law, nemein, also means to distribute and to possess, as well as to dwell. Property, in English, also names the laws of propriety, what is right and given to each.
In both the public and the private realms the world consists of things that endure. Worldly things must not only be common. They must also last. Since we must love the world more than our own lives—since we must be willing to pursue the world as an ideal and sacrifice ourselves to the glory and good of the world we share with others—the world must offer us the promise of permanence and thus immortality.
How are to understand the worldly conditions of permanence and immortality? We might ask: What is a house?
This is one of the many questions at issue in Jonathan Franzen's essay "House For Sale," about his return to his mother's house in Webster Grove, Missouri to sell the house after her death. Here is how Franzen describes his mother's house.
This was the house where, five days a month for ten month, while my brothers and I were going about our coastal lives, she had come home alone from chemotherapy and crawled into bed. The house from which, a year after that, in early June, she had called me in New York and said she was returning to the hospital for more exploratory surgery, and then had broken down in tears and apologized for being such a disappointment to everyone and giving us more bad news. The house where, a week after her surgeon had shaken his head bitterly and sewn her abdomen back up, she'd grilled her most trusted daughter-in-law on the idea of the afterlife, and my sister-in-law had confessed that, in point of sheer logistics, the idea seemed to her pretty far-fetched, and my mother, agreeing with her, had then, as it were, put a check beside the item "Decide about the afterlife" and continued down her to-do list in her usual pragmatic way, addressing other tasks that her decision had rendered more urgent than ever, such as "Invite best friends over one by one and say goodbye to them forever." This was the house from which, on a Saturday morning in July, my brother Bob had driven her to her hairdresser, who was Vietnamese and affordable and who greeted her with the words "Oh, Mrs. Fran, Mrs. Fan, you look terrible," and to which she'd returned, an hour later, to complete her makeover, because she was spending long-hoarded frequent-flyer miles on two first-class tickets, and first-class travel was an occasion for looking her best, which also translated into feeling her best; she came down from her bedroom dressed for first class, said goodbye to her sister, who had traveled from New York to ensure that the house would not be empty when my mother walked away from it—that someone would be left behind—and then went to the airport with my brother and flew to the Pacific Northwest for the rest of her life. Her house, being a house, was enough slower in its dying to be a zone of comfort to my mother, who needed something larger than herself to hold on to but didn't believe in supernatural beings. Her home was the heavy (but not infinitely heavy) and sturdy (but not everlasting) God that she'd loved and served and been sustained by, and my aunt had done a very smart thing by coming when she did.
Franzen offers us a house in many valences.
It was where his mother lived. Where she was sick. Where she thought about dying and God. Where she recovered from surgery and made herself up. Above all, it was his mother's house. Later he writes that the house was "my mother's novel, the concrete story she told about herself." In this house she "pondered the arrangement of paintings on a wall like a writer pondering commas." It was a house in which she showed herself. It was thus an invitation. And "she wanted you to want to stay."
The problem is that Franzen does not want to stay in his mother's house. He grew up in the house, but he resents it. The house his mother made, was filled with "sturdy and well made" furniture that "my brothers and I couldn't make ourselves want." He has fled the house and returns only to remove those photos that for his mother made the house hers, to act like a conqueror, he admits, and repossess the house from his mother. But only to then sell it.
If Mrs. Fanzen's house is her novel and if it was a house in which she both concealed and showed herself, her son's house in NYC is something else entirely. Here is how Franzen describes his own dwelling place:
I now owned a nice apartment on East Eighty-first Street. Walking in the door, after two months in California, I had the sensation of walking into somebody else's apartment. The guy who lived here was apparently a prosperous middle-aged Manhattanite with the sort of life I'd spent my thirties envying from afar, vaguely disdaining, and finally being defeated in my attempts to imagine my way into. How odd that I now had the keys to this guy's apartment.
House for sale is, amongst other themes like the loss of religion, the loss of family, and the loss of the American middle class, about the loss of the American house. It is also therefore, in an Arendtian vein, a story about the loss of our world, the property that both hides and nurtures our souls and separates and distinguishes us from our fellow citizens. Denuded of our habitus and property, we are defenseless against the conformity of society. Without desks and bookshelves passed down over generations that fit us, over and against our choices, into a private world, we are consumers who build a temporary bulwark whether styled by Ikea or the local antique store. Such a house is not meant to last and to be passed down across the generations. It will be used and, eventually, sold or walked away from. With nothing that defines us in a lasting and immortal vein, our lives have no depth or meaning beyond our accomplishments. There is no weight or law that claims us and obligates. We are free, but free, unsure why we are here or what it all means.
I recently encountered Jonathan Franzen's essay within an extraordinary theatrical experience. The play "House For Sale" is based on his essay by the same name.
It has been adapted for the stage by Daniel Fish. I have now been to see it twice. The play is hilarious, brutal, and shattering. It makes Franzen's essay come alive in ways miraculous and uplifting. The final scene itself is worth dropping every plan you have, flying to NYC, and rushing to the Duke Theatre on 42nd St. to catch it. I can't recommend this highly enough. But hurry, it is playing for only a few more performances. You can buy tickets here.
Or, if you simply can't get to NYC, buy The Discomfort Zone, Franzen's book of essays in which "House For Sale" originally appeared. It is your weekend read.
Decompression: Before my hands heal I should sit down and find a way to wrap this up. I have been out of the desert (Black Rock City) for over a week now. I am back in the state of ‘normalcy,’ and yet I cannot help to feel that this ‘normal’ world is the exception. Have I been bedazzled, indoctrinated by some paganistic ritual? Did the “party” get me?
“Playa hands,” or feet, is the term used to describe what happens to ones hands, and feet, when they are overexposed to the conditions of the desert. They begin cracking -- “playafied” -- like the desert floor itself. Moisturizer helps, but the secret is to spray them down with vinegar every morning -- something about alkaline, acidity, etc...
I was out there for almost three weeks. Blood had begun to escape through some of the cracks. Yet, amid the sensory overload that is Burning Man -- coupled with the knowledge that whatever happens in the desert is hyper-transient -- your bodily concerns become secondary to the need to engage the world created for you. You celebrate despite the discomfort, or maybe even in part driven on by it. You don’t want to miss anything.
My hands have almost healed, new skin appearing underneath. I miss the damage. I miss what Burning Man proved.
I was moved towards Burning Man by the stories of others. What most attracted me to these stories were the themes of ritual, ceremony, and story telling. What I experienced, as a byproduct of being there, is the stuff I do not want to leave behind -- the concepts of ‘intent of environment’ (architecture and guiding principles), and ‘currency of gratitude.’ To feel complete, my new skin must now make space for these.
For this past week I have been needling my brain to pin down the difference between ritual and ceremony. I find it easy to mix them up. Why is there such confusion? Ultimately, I have come to see ritual as a loosely prescribed set of practices, or intentions, while ceremony is the celebration, or interpretation, of the prescribed by the practitioner. Certainly some anthropologists and theologists will find fault with my definitions. Well, I challenge you to bring me another set and if it reveals itself to be an exercise beyond semantics, I will be happy to sacrifice my hard won approximations. But that’s the catch, isn’t it? Definitions are the products of their society. They move, evolve... disappear. They are ‘approximate,’ in accordance to the pressure exercised upon them by what I call The Social Body -- our communal practices, beliefs and values, toys (inventions), cultural narratives, and the principles we deduce from the tangible matter of our environment.
Maybe what’s most worth exploring in the road towards a definition of ritual and ceremony is the location of the struggle itself: Why do we so struggle in defining them? What does this say about our society, and its practices? In the simplistic thinking somewhat necessary to engage such questions I had hoped to use my time at Burning Man as an aperture into the society at large. I brought my child brain, the one asks to see before judgement -- the one open to signs of proof.
What burning Man provides is a scaffolding of a society, a set of pillars (in its principles and architecture) to be built upon, and filled in by the participants. It is in this movement, from the scaffolding -- from the available structures -- towards the experience, that ‘ritual’ is made into ‘ceremony.’ It is where meaning is formed, and body is found. The concept of the ‘social body’ implies more then mere existence, or survival, more than just the fractals of society; it is a narrative, it is consciousness (a self-aware organism, capable of self correction), it is the accumulation of meaning.
The set of principles for this experimental society (Burning Man) are “Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, Immediacy.” To survive, and thrive in the desert, and to feel a part of the experience, one must find their own relationship to these principles, otherwise the experience will be tedious and lonely.
The other part of the scaffolding is the architectural intent. There is the city (its streets), its coordinates measured in the units of time, and thus when you arrive at a place you arrive to a time -- time is appropriated into a location (brings us closer to the definition of ‘being here’ doesn’t it?); there is the Playa floor, a space for various art installations; the camp space, the themes to be supplied by each individual camp, each camp identifying its own purpose; the Man, to be empowered with whatever meaning one finds necessary to bring to it; and the Temple, a spiritual space to be used for remembering loved ones, the execution of weddings, and a creative space for communion. There is also Center Camp, where you will find lectures, performances, coffee (it is in fact the only place where you can “buy” something). A friend of mine described Center Camp as “the heart of Burning Man.” Maybe because this is where the exchange of stories, connectivity, takes place.
The scaffolding of ritual is provided (a labor intensive process on the levels of planning, recruiting, development, and construction). In my conversation with Larry Harvey, one of the founders of Burning Man, he summed up the intention behind this social scaffolding like this, “I am, we are, it is.” He was not pointing to himself, or to the structure of the Man, rather, the gesture was towards the “participant.” No further elaboration is given. Meaning is not handed out here, nor is it imposed. What is implied by this is that the highest level of “participation,” is to give meaning. This is “radical inclusivity.” No ones experience is void. You can come here for a great party, or to say goodbye to a passed parent. You can have your own vision quest after sunrise, way out in deep playa, or you can don the outfit of a renegade and strap yourself up in the Thunder-Dome, just to see how you feel in the costume of primal power. All experiences are affirmed, accepted. The forms are created for you, and you fill in the space. Two experiences may further elaborate on this.
One night I was warned to wear white. “The white procession,” is what I was told. After being out all night, meeting people, seeing art pieces on the playa and dancing, we made our way to the temple for sunrise. After a night of being engulfed in noise and neon lights, we arrived at the wooden, ornate temple. The quiet, a gesture of respect to the space, was hyper-pronounced all around us. People praying, crying, meditating, talking in the open space. There were pictures and poems and notes stapled to every reachable surface of the structure. As the sun began to rise a small ensemble of musicians began to play soft wooden instruments. More and more people showed up, wearing white. Some in intricate feather outfits, some on stilts, some in a simple white shirt and seersucker pants (well, me!) -- the playa was flooded in white. I have been to spiritual spaces from Eastern Europe, to Europe, to the U.S., but the power of that space, its sincerity, was unlike anything I have ever experienced (I have no elegant words for this -- it was really something “I have never experienced”).
I can tell you more of that morning, the conversations, the white anonymous mask I had carried with me, the umbrella we found, the way this umbrella became empowered through a dance, through the power of movement and intention, when an art-car showed up with a music group called the Human Experience, how that empowerment became an opportunity for someone to say goodbye to her mother who had passed two years ago. How the anonymous mask, as more people in white arrived, as people celebrated the space and the new day, was endowed with personality of the dancers behind it. But I will simply say that ‘we filled the space,’ and allow you to unpack this meaning. Did my scientifically educated mind attempt to balk at this scene? I am trained to bring skepticism, but skepticism is only useful in service to a greater goal -- to seek out what is true in the arena of living. Otherwise it becomes a defense against its initial intention. To be disarmed, to be taken-in by a communal experience, to sense the meaning of the practice, is to be a living part of the ‘social body.’
Another morning we had wondered out to deep playa, where the installations are few and far in between. There we stumbled upon a smaller temple (about 20 feet high) made of diamond shaped wooden pods -- a hive. Inside sat a man with a hot stove and four people joining him in a circle. On a low table before him were five glass ramekins filled with tea. As we approached he took two more out of his bag and added them to the already existing ones, making the pattern of a diamond on the table, now reflecting the shape of the pods. We accepted the invitation. On a cold desert morning a hot cup of tea is the power of the sunrise. Soon my partner took out a ceremonial orchid fragrance and offered it up to the others. We sat there in the quiet, warmed up and without hurry, without any knowledge of the time. Tea, orchid fragrances, tarot cards, all become an invitation to converse -- to join, to exchange, to fill-in the space. We sat for two hours and the tea master told us of his camp and how it was their mission to keep tea in this space, and his fiance and work with a non-profit music space on the West coast. There were individual pods about forty yards off to one side of the structure, the side that faced the central playa and the camp spaces. Later I found similar pods scattered throughout the playa, including inside the base of The Man. Call it metaphysics, call it the construction of myth, but after the tea experience, every time I saw one of the pods, I could not help but to feel the transmission of that experience. The space of ritual became empowered through the formation of our ceremony, and the experience felt transmitted through association from portal to portal. Is that not the fabric of culture and meaning? Is that not how we once created a society worth participating in? Practices, intention, invitation, and room for interpretation, is that not the scaffolding of purpose and faith?
If I had to mold that space into a single definition I would call it an ‘intentional space holder.’ The camp, committed to keep a tea going in that structure, held space for participants -- for the arrival of stories (the people that bring them, and the articles that facilitate them). And this is another crucial memento that I carry from Burning Man. How often do we sit down and create a story between us? How versed are we today in exchanging myth? We exchange information at a rapid pace, having now been conditioned to advertise ourselves at every opportunity. We lobby the enterprise of self, and self today is an entity that is simply trying to survive -- survive in a plethora of other voices. We seek “hits,” and, “tweets,” attention to a carefully crafted mask. With painful detail we foster an identify that can “sell” and we update its status in a witty, seemingly effortless, “I have nothing to hide” fashion, so that we become “liked,” so that our circle of “network connections” can explode. We, each, becoming conditioned to present a face on a book, but without dimensions to it. How are we known? Do we now even know what to be known is? How many, or how few, of our actions are intentioned with the creation of meaning? How much in our repertoire of communication comes from a departure from the the practice of being seen, a false conditioning to define ourselves through the limiting shapes of business, career, education, ‘appropriate‘ culture defined beliefs -- assimilation? Assimilation, but to what? Have we each become a corporation of isolated creatures -- human inc.? And have we fallen into the practice of survival (holding ground) rather then the practice of exploration (creating space)? These are lofty questions, I know. And yet, is not our struggle in defining “story telling” and “connectivity” similar to the struggle in defining “ritual” and “community?” Could this struggle of definitions point towards us having taken for granted the initial pillars of community forming? Having moved away from something essential, could we have paralyzed the ‘social body?’
I have no clear answers to these questions. Only the sense that some of what I experienced at Burning Man helps to redirect my personal exploration of these subjects back to an older mode, to a practice that I had already sensed absent, yet one which when I am faced with, I recognize as essential. In part, this rerouting is somehow centered in the principles behind the event.
For those looking for more tangible examples to the power of “participant,” consider this: Burning Man, for a week the third largest city in Nevada, has almost no crime rate. It is a city that literally leaves nothing behind in trash, or MOOP (Matter Out Of Place) as it is called here. Everyone brings their own trash bags and collects MOOP while on the playa. In fact, when a group of Nevada policy makers came to examine Burning Man their collective surprise was centered on the absence of both public trash receptacles, and trash. Participants take pride in their society -- there is ownership of the ‘social body.’
Finally, I move to “intent of environment” and “currency of gratitude.” Once I left Black Rock CIty, and drove back into “our” society, I experienced a sense of vertigo. At each new scene I encountered my mind worked to solve the riddle of intention. At a starbucks, I wanted to ask the barista, what is the theme of your camp? What experience are you charged to awake in me? When I order one of your “luxurious hot chocolate beverages for the sophisticated palate” what am I inviting? What are the articles of facilitation within this camp? At a strip-mall outside of Reno I asked, what is the purpose of this installation? What does this space inspire? What psychic and creative pressure does it exercise on me? I had become sensitive to these questions.
We float from one “must do” to another, from one operational space to the next. Our practice has become ‘to-accomplish,’ ‘to-get-done,’ a checklist of survival before we come back to the safety of homes and return to sleep. We know a thing by what it does, by what it does for us, but not what it does to us or what it ‘impresses’ upon us. We have become too busy in the ritual of ‘getting-by’ to examine this question. No wonder the irony of Frank Gehry having been tapped to design the new Facebook campus speaks so loudly to us (even if we’re not sure of the words): An abstractionist tapped to give tangible form to the institution that most clearly provides us with the venue through which we can best abstract the condition of being. The questions our our being are finally visible in the structures which surround us -- that’s the irony we now interact with. Arthur Koestler, Walter Benjamin, Hannah Arendt, and others, had predicted and observed this movement -- the emergence of space that comments on the loss of self. And now we live within this triangle -- self, our physical structures, our virtual structures -- uncertain which is the commentary, which is the creator, and which is in service of which.
Lastly I want to comment on the major form of currency at Burning Man. As mentioned earlier the exchange of money is extremely rare. Yet, there is exchange. Millions of dollars are spent yearly by individuals and groups, just to create an experience. I talked to a computer engineer who had been coming to Burning Man for five years. “It changed my life,” he said. “How?” “It made me want to give more, without asking for anything in return.” Such a cliche, right? You give without asking for anything in return, and you receive the gift of gratitude. Such a cliche, right..? And yet, this is the most obvious currency at Black Rock City. Each person is provided with an opportunity to form an experience for another. From the grand structures that hold space for everyone, to the theme camps that invite you to join them and pour gifts upon you -- from drinks to ice cream, to food, to conversation, to workshops, to tarot readings, to music, to showers and espresso, costumes, to confessionals, to the Thunder-Dome, to tea ceremonies, to trinkets and bracelets and other handcrafted articles of remembrance, to the extent of the human imagination. Such a cliche? Right? No competition, no “one-upmanship.” ‘You are invited,’ they say. You, are enough.
It is in the examination of such cliches that maybe we can begin a return to that place where we lost meaning. When did we decide that we are too busy, too smart, to be truly humanist? What made us this? The humanist tradition asks us to examine our being on every level -- the concentric circles of community (world, culture, self -- it, we, I). To use the full spectrum of our gifts in examining the state of being. To not hold “contempt prior to investigation” because such a state can lead one to loose the trail, and a skill once in service (skepticism) becomes a master -- a true state of purposelessness. Maybe it’s time to stop and reexamine our society, to allow for our deepest and most personal, and maybe most essential questions and concerns on the state of being, to catch up to the gifts of our inventions.
The creating of space: I cannot get away from this idea. This is what Burning Man does. It creates a space (a space for meeting, for discovery, serendipity, a space for creating) and I, pressurized (or inspired) by this space -- its subtle intentions, architecture and principles -- am left to empower this space with meaning, to fill in the forms. I am endowed with the magic of meaning making. From ritual to ceremony I make matter -- I make this time (this space) matter.
Left to my own devices I perform the rituals of living, but without the movements of meaning. I struggle to empower the mask.
We have passed to the end of the existential age. Someone declared God to be dead. Science, with all its promise and discovery, has too failed in filling in the shapes of existence. Consumerism, the god of the 20th century, has also, ultimately, failed to provide us with the kind of purpose that leads to a greater belonging, or safety. The internet age, having initially promised to connect us, is now making us even more isolated. The onus is placed on us. On the individual. In this age of the spectator (internet, TV, emotional removal from the immediacy of our world) we are left to create a ceremony of our existence, to question our rituals, to define the space of our community, and our coordinates within it -- to become participants. To bring the social body back to a state of being.
"Political institutions, no matter how well or badly designed, depend for continued existence upon acting men; their conservation is achieved by the same means that brought them into being. Independent existence marks the work of art as a product of making; utter dependence upon further acts to keep it in existence marks the state as a product of action."
-Hannah Arendt, ‘What is Freedom?’ in Between Past and Future
Arendt’s polemics against means-end thinking in politics are prominent throughout The Human Condition, and echoed in many of her other writings. Most of her readers have been willing to grant her the dangers of means-end thinking, as expressed in the maxim, “You can’t make an omelette without breaking eggs.” In this regard, Arendt’s words are indeed unanswerable: ‘We are perhaps the first generation which has become fully aware of the murderous consequences inherent in a line of thought that forces one to admit that all means, provided that they are efficient, are permissible and justified to pursue something defined as an end.’ (HC 229) Nonetheless, many readers have wondered whether she does not over-egg the pudding, so to speak, by so emphatically rejecting the political importance of goal-directed thinking and strategic action.
I think this passage from ‘What is Freedom?’ enables us to respond directly to these natural doubts about Arendt’s account of action in The Human Condition. It is an error, Arendt writes, to regard ‘the state or government as a work of art, as a kind of collective masterpiece’ (BPF 153). To endure, the work of art depends only on a certain degree of care. Cleaning and maintenance, or labour in Arendt’s terms, preserve the art-work, which – as its name indicates – resulted from the activity of work. It is quite otherwise with political institutions: ‘their conservation is achieved by the same means that brought them into being’ – that is, by the concerted action of many persons. In other words, we may easily mistake the nature of the goals at stake in politics, by misconstruing them as ends that might be achieved and endure, needing perhaps just a little ‘spit and polish’ from time to time.
Of course, many political acts do aim to bring about a lasting change in the world. In every case, however, this goal ultimately concerns the terms of on-going human relations. Whatever political aim we think of – someone obtaining political office, a change in the law or the foundation of a new state, even something as material as the erection of a monument or a boundary wall: in each case, unless people alter their conduct and relations in terms of these new realities, they will not, in fact, obtain any reality at all. An elected official can find herself powerless; a law can enter the statute books but remain a dead letter; history knows many vain and ineffectual acts of constitution. A monument or wall are slightly different: they are material objects that may, up to a point, endure with no one’s doing anything more about them. But of course, their coming-to-be rests on an agreement to commission them – that is, on action rather than work. And whether they retain any political relevance, whether they keep memories alive or boundaries solid, whether they become tourist attractions or mere rubble – this depends entirely on the opinions and conduct of the people who live alongside them. If many political acts aim at lasting change, then, many others aim to preserve: ‘the conservation [of any political accomplishment] is achieved by the same means that brought [it] into being.’
In other words, although it may be affected by material structures and written documents, the political realm ultimately consists just in how people conduct themselves toward one another. One of Arendt’s reasons for rejecting means-end thinking is that there is no ‘end’ to politics. Our political action can never strictly look to an end-point, for that could be nothing but the end of history itself (‘Understanding and Politics,’ in Essays in Understanding, 320). Again, we may suspect Arendt of hyperbole that misses the importance of goal-directed action in politics. But her deeper point is that political goals and achievements always concern the terms of on-going human relationships. These may be expressed by offices and laws, monuments or public squares; but they cannot be reified. No written document, not even the most solid and brutal wall, constitutes those term. Only continuing and concerted action, animated by particular principles and enacting certain virtues, does this.
There are no ends in politics, then, because political achievements only endure in the form of actions, principles, and relationships. People’s consent and support; the power that arises from these; the continuing preparedness to abide by the relevant terms – these phenomena of human acting and relating are the essential goal of any political initiative. ‘Means’ and ‘end’ are made of the same stuff, defeating any political theory that separates them and spelling ruin from all political practice that seriously regards actions or persons as mere means to an end. None of this is to deny that there are lasting political achievements, or that responsible political action may be directed toward such goals. The point is just that those achievements endure only if kept alive by ‘acting men’ – and, as Arendt would be sure to add, in the stories we tell about them.
-Garrath Williams, Lancaster University, UK
Victor Granado is an Arendt Center Fellow, visiting from Spain.
In his introductory lecture at this year’s Arendt Center conference, “Democracy: Truthtelling in An Age Without Facts,” Roger Berkowitz reminded us that in present day, facts have been relegated to mere opinion. There has been a dissolution of the facts, in other words, a transformation of the factual truth into mere doxa; judgment versus opinion. This change illustrates the confrontation between judgments based on facts, which offer us definitive knowledge, versus unfounded opinion, which undermines the basis of this knowledge and prevents the possibility of a rational debate.
“The loss of the truth amounts to the loss of the world,” Berkowitz stated, reminding us of one of Arendt’s most crucial notions. “Truth” in this case refers to the world of events shared with other people, about which it is possible to speak, and in which it is possible to act. Thus when there is nothing to share, that commonality disappears. This seems to be our situation today, which Berkowitz summarized by noting, “dissensus is the norm and the consensus is the exception.” Perhaps most worrisome is that without the shared understanding of facts, there is no possibility of real political discourse.
Today, nobody can say or show the truth, because the truth can only be told. After the period of positivism, in which the facts were considered definite, it is no longer possible to believe that they are objective, independent and real. Facts have a social and historical context, and while many may argue that they come to be socially and historically constructed, it doesn’t mean that they in turn, do not reflect the reality of the given world.
Facts and pictures about reality may have more than one single meaning. It is possible to approach them and try to understand them from various and different perspectives. They are no longer one-dimensional but a discourse, a tale about reality. This does not eliminate the truth of facts, but it is important to bear in mind that the fictional dimension of facts is not a rejection of the truth, but rather can provide another foundation for the rational truth. What does it mean that something is true? Today, truth—the historical, political or scientific truth—means the majority of people hold it as common. Consensus plays a capital role in the actual meaning of truth.
We need to tell the truth because in this capacity, truth is narrative—truthtelling means storytelling. We can understand this process with the help of Max Weber. As we have learned, when there is no explanation of reality, the need arises for some kind of sense to be made of events. In that case we can say that the truth is a method of explanation: of accurately describing and illuminating the story that we tell of reality. The question of how to narrate the truth is the question of how to find a way to make sense of the facts. As Hannah Arendt said:
“Who says what is…always tells a story, and in this story the particular facts lose their contingency and acquire some humanly comprehensible meaning.”
At a time in which ‘being true’ means that the majority believe that such a thing occurred, it is more important to tell the truth than to say something ‘right.’
It is only then that thinking about the truth leaves the area of theories of knowledge and instead leans toward ethics. Rather than concentrating on science and correct judgments, the most important thing is to be honest and to say what you hold as true. Therefore, telling a story about reality requires one to be sincere and brave. Or as Wolfgang Heuer said in his speech:
“Truth-telling can be unpleasant when it contradicts the opinion of the majority. Telling the truth can easily lead to a minority position and expose the truth-teller to the pressure of the majority. It takes courage to resist the strain.”
Today telling the truth means telling a story. Offering a story that accurately reflects reality requires both honesty and courage.