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Michael Moore may be American cinema’s best known film essayist (or propagandist, if you like), but the leader of the genre is still alive and kicking, at age 88, living quietly in Paris (no doubt with one or several cats). Chris Marker’s Pictures at an Exhibition is a walk through a gallery of his photoshopped détournements commenting on art and world history.

This is, of course, poles apart from agitprop. The combination of rich and affectively engaging imagery (with a kind of cross-historical hyperlinked quality), subtle humor and light-footed pacing, sutured together with Pärt’s delicately uplifting music, moves me into the kind of heartfelt meditative space the Buddha would approve of — as if we’re walking alongside Paul Klee/Walter Benjamin’s angel of history, in a space capsule hovercraft scanning its monuments, but with humor and gentle compassion and curiosity, coming so close to the bodies lying on the battlefield we can touch them, feel their breath, and maybe give them some solace with our touch.

It helps to know something about Marker’s lives, loves, and politics — perhaps Wolfgang Ball can be encouraged to create a footnoted hypertext analysis of the piece, as he did with Marker’s Sans Soleil.

Chris Marker – Notes from the Era of Imperfect Memory has some other videos by him. And see Brooklyn Rail’s piece on his Grin Without a Cat. Oh, and make sure you click on the full-screen button when you watch it.

I’ve written before about William Connolly’s notion of the evangelical-capitalist resonance machine, a description of the cozy relationship that’s developed between the economic right and the social-moralistic right over the last couple of decades in the U.S. It’s not merely an alliance of converging interests, since the two groups’ interests don’t always align with each other at all; nor is it only the kind of discursive alliance that poststructuralist analysts like Laclau & Mouffe describe with their notion of hegemony as a process of co-articulation of interests between differently positioned subject-groups. For Connolly, there is also a micropolitical level of resonance that takes in affect, feeling, sensibility, ethos, and other things taking place in pre- and sub-rational dimensions of individual and collective life. (The updated version of Connolly’s piece is found in his book Capitalism and Christianity, American Style.)

Michael Moore’s Capitalism: A Love Story, which I just saw a few days ago, is a good example of the effort to forge a popular alternative to that. Moore tries to work on both the cognitive-discursive and the affective levels to, in effect, forge a kind of Christian-socialist-populist resonance machine — Christian in that it explicitly and repeatedly invokes the Jesus of the gospels (in a kind of reclaiming of the “what would Jesus do” discourse of the evangelicals), socialist in the small-s sense of valuing public control of our institutions, and populist in the way its critical barbs are aimed at, well, mostly bankers.

(On the Christian bit: see Moore’s interviews with Sean Hannity, rounds one and two, where the two tangle, sometimes in a friendly way, sometimes less so, over which of them carries Christianity in their heart (among other things). It makes for fascinating viewing…)

(And on the ‘socialism’: Every political-economic system in the developed world includes some mixture of small-s socialism and small-c capitalism, i.e., some combination of public and private ownership, management, and/or oversight of institutions, where “public”, in a democratic context, means by elected officials and “private” means by individuals or corporations pursuing their own goals. The difference is in how the lines are drawn between the two, with the U.S. erring on the side of minimizing the public role and most other countries seeking greater balance. Moore comes in somewhere in the middle of this spectrum, but what he explicitly advocates is not socialism but democracy — which is another word for public oversight with the details being determined according to what’s in the public interest, not in the interest of the wealthy few.)

As a result of its discursive-affective strategy (with part of the latter being citizen Moore’s persona) the film won’t convert the unconverted unless they’re already leaning in this direction. But he does present a handful of tasty informational morsels that will hopefully send some viewers to their computers — as they did me — to find out more about them. One of those interesting bits is the idea of “plutonomy,” which comes out of a piece of political analysis developed by a trio of Citigroup financial advisors in 2005, well before last year’s economic crash. Jodi Dean has helpfully posted the group’s report here, along with its follow-up, and I highly recommend reading them. “Plutonomy” is similar to “plutocracy” (rule by the wealthy) and “oligarchy” (rule by a dominant class), except that it is not the direct power of the wealthy as it is its economic force that drives things (thus the “-nomy”). Investopia defines plutonomy as

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blog action day

The more blog action, the less the climate will change? Or something like that… I’ve been putting some of these in the Shadow Blog.

This is from Gary Palmer’s surreally beautiful Sun in Motion solar video page. Just try to take your eyes off this one.

Several days of silence calls for at least a whimper of sound here… I’ve been on the road (Washington, DC, Boston, and tomorrow Montreal) and writing for crisp deadlines in amidst the travel. And I’m still uncertain as to whether it’s better to post little snippets just to keep the flow coming to your blog readers, or if I should concentrate on lengthier, more considered posts when the opportunity for them arises. Either way, I have been adding to the Shadow Blog, and there’s been plenty to add there, most of which I could have said something about here. (Unfortunately I can’t control the Shadow Blog’s appearance — that’s Google’s prerogative — so some entries come up only as linked titles, while others blare their full length at you.)

But a few things worth mentioning both concern economics:

First, the very pleasant surprise of Elinor Ostrom being awarded a Nobel Prize for it. (The other surprise Nobel I’ll leave uncommented upon…) Ostrom is a political scientist whose work on the commons is central to reconceptualizing the human capacity to manage commonly held resources. Her work (along with that of many colleagues) has dealt the death blow to Garrett Hardin’s “tragedy of the commons” scenario, with its ornery assumption that unless we privatize or bring in the heavy hand of government, humans will destroy their environment inevitably, incessantly, and repeatedly, out of some kind of death drive (or maybe birth drive, an inability to control our own reproduction). That’s a simplification, of course, intended provocatively, but it still gets a little maddening to see how captivated students get by the elegant simplicity of Hardin’s apocalyptic tale, while being much less interested in the messy complexities of real life as shown by painstaking fieldwork and careful analysis. Ostrom’s work shows that commons can be, and often have been, successfully managed — it just takes the right kind of collective institutions (appropriately scaled, manageable and participatory, with clearly understood responsibilities, etc.). Here’s the Nobel committee’s justification for their decision, a recent article of Ostrom’s from Science for those with institutional subscriptions, and some blog discussions on the topic.

And second, the seismic shifts starting to take place in the field of economics, of which Ostrom’s Nobel is one indicator, Paul Krugman’s recent NY Times Magazine piece How Did Economists Get it So Wrong? is another, and the growing prominence of behavioral economics is a third. The latter is being incorporated into policy making in the US, as I’ve written about before, especially now that Cass Sunstein has been confirmed as Obama’s regulatory “czar” (he who has been under fire from Glenn Beck for, well, does it matter?). This piece from Britain’s funky Prospect Magazine provides more news about how it is also shaping public policy in the U.K.

(Where, though, are our buddies the ecological economists? They need to be taking this opportunity to leap to the forefront of economic debate as well. (I ought to prod my colleagues up the street at the Gund Institute eco-eco think-tank to see what they have to say…)

The idea of the commons is central to Ostrom’s work and, incidentally, is also at the heart of Michael Hardt & Antonio Negri’s third and final installment of their much loved / drooled over / berated (hopefully not in equal measure) Empire trilogy. (Are they the George Lucas of sociopolitical theory, or the Darth Vader?) Following up on Multitude, this one’s titled Commonwealth. They are the inspirational writers of the Spinozan (post-Marxist) left, and I’m eager to see where they’ve taken things (despite the weaknesses of the previous volumes, as outlined, for instance, by some of the articles here).

Re-Public put out a very nice special issue on the commons a while back, though it focuses more on the technological commons than the ecological ones, and the issues faced by the two are not always the same. I would also recommend Re-Public’s environmental justice issue, and Steven Shaviro’s (and others‘) more recent analyses of the economic crisis. And see On the Commons for more of this kind of thing.

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Before Ken Burns’ 6-part, 12-hour series on the national parks was aired, a perceptive article by the LA Times’ Scott Timberg warned that it might be greeted by “sharp knives.” Ten years in the making, The National Parks: America’s Best Idea, finally came to our television screens last week, and so far no sharp knives seem to have been drawn. But there have been blunt forks poking into the meat and leaving large parts of the six-course meal undigested on the plate, its servings a bit too super-sized for easy consumption. (There are, of course, the stealth knives and box-cutters of right-wing bloggers, who criticize the series for its NPR liberalism, communism, paganism, and whatever else, but so far the jabs have been mostly off the mark, and few and far between.)

The US national park system would seem to make for an ideal subject for the Burns treatment — a treatment Apple has captured, at least in part, on its iPhoto program as the “Ken Burns Effect.” Timberg describes the Burns style as a “combination of a deep, authoritative male voice, pan-and-zoom camera work over sepia-toned photographs, period music and extravagant claims about American exceptionalism.” The Washington Post’s Tim Page has less charitably called Burns’ style an “unreflected populist Hallmark-ese,” a “strange mixture of New Deal and New Age.” The latter was said in reference to Burns’ “Jazz” series, with its idea that improvisation was an integral element of the American spirit, but it could easily also be said about National Parks.

But there’s something to Burns’ claim about improvisation: one finds that improvisational spirit in the pragmatism of the country’s best philosophers (John Dewey, William James, et al) and in the poetry of Whitman, the Beats, and the nature romanticism of Thoreau and Muir. All of which is another way of saying that progressivism, the very backbone of the American conservation movement (the national parks being one wing of that, the national forests being another), is very American, and those who forget that — like today’s rabid Republican right — are not nearly as American as they would like to think.

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(Here’s the reference from the last post…)

This is one of my favorite scenes from the David Attenborough-narrated Planet Earth series… The music is toned down, soft and sparse and a little eerie, some of the cinematic apparatus (at least the lights of the submersible) is displayed on camera, and we get a hint of the umwelt of a very strange creature, before that creature “disappears into the blackness,” rather like Graham Harman’s objects disappearing into the density of their tool-being…

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Harman responds to my last post at generous length here. I realize I should have thought this through better before I sent it off, since I don’t really have time to work on a response or an involved dialogue with him at the moment. (And neither does he, as he has said a few times, so I’m grateful he’s taken the time he has to deal with the substance of my complaint.) But I’m of course not the only one pursuing the resonances between Whitehead and Deleuze: Shaviro, Stengers, Keith Robinson, James Williams, and Michael Halewood (and to some extent, at least, Eric Alliez and Jeffrey Bell) are among the others doing that. Not that that makes any of us right — and to the extent that Harman is correct about all this, his arguments should interest the others.

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Keeping up with Graham Harman means continually being tempted to respond to him, and since he doesn’t allow comments on his blog, for reasons I completely understand, I can only hold my tongue or flap it here. (Or I can do the respectful thing and write up a lengthier and more in-depth argument, but that would take more time and energy than I currently have. For that reason, I’m not asking for or expecting a response from Graham, but since he reads this blog, he may as well know that I need more convincing.)

So, a quick reply to his “response to Shaviro” blog post:

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blog time

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In response to a few people’s queries about how I find the time to blog…

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Mars attacks Sydney!

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The photos are a bit too beautiful to resist sharing. And the stories taken from the archive of the already screened: “like scenes from Mad Max,” “like waking up on Mars,” “like a nuclear winter morning”. . . White urban Australia’s dreamtime apocalypse of being taken over by the Outback, the uncanny aboriginal sacred that still haunts the landscape, as cinematized in Peter Weir’s Last Wave and countless other Australian films. Somewhere in there one can find a climate change signature, or at least an El Nino initial. Jon Snow writes:

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I agree with Mediacology‘s critique of Derrick Jensen’s ‘dark side’ — or at least of a certain linearity in his political vision — but I still find his Star Wars spoof pretty funny. And I think it’s good to have someone saying the things he says (like these). And his column does add some fire to Orion magazine, which as the reigning most beautiful environmental mag, has always been better with the other three elements (air, water, earth) than with the fire.

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