Kim Hew-Low:

There is a certain permeability between art and life, and pleasure in perceiving it: We take satisfaction in recognizing our lives in onscreen plot lines, as we thrill to real-life moments that feel “just like a movie.” But TikTok’s video-based format has wildly amplified the impulse to collapse the distance between the two and imagine yourself as an onscreen character. The app’s tools make it easy for people to film and edit footage of themselves, narrating their own stories in breezy narrative beats — making life look like an episode of television. The result is a perfect ecosystem for watching and being watched, where once-passive audiences are encouraged to see themselves as the writers, directors and stars of their own motion pictures.

Charles Taylor:

To shut out demands emanating beyond the self is precisely to suppress the conditions of significance, and hence to court trivialization. To the extent that people are seeking a moral ideal here, this self-immuring is self-stultifying; it destroys the condition in which the ideal can be realized.

TikTok: destroying not just happiness, but even its very possibility.

But don’t let that stop you…


The sparrow and oriole stopping by for breakfast


Finished reading: The Bridge on the Drina by Ivo Andríc 📚

A fascinating tale of the long life of a bridge and the centuries of lives and change that surround it.

But the bridge still stood, the same as it had always been, with the eternal youth of a perfect conception, one of the great and good works of man, which do not know what it means to change and grow old and which, or so it seemed, do not share the fate of the transient things of this world.

(I’ll get around to putting up a few more quotes from the book, but this one is a doozy.)


Waste


Not even waste
is inviolate.
The day misspent,
the love misplaced,
has inside it
the seed of redemption.
Nothing is exempt
from resurrection.
It is tiresome
how the grass
re-ripens, greening
all along the punched
and mucked horizon
once the bison
have moved on,
leaning into hunger
and hard luck.

  ~Kay Ryan~


Like all of Kay Ryan’s poems, I’ve read those lines 25 times. Each time I want to italicize that part in the middle: It is tiresome / how the grass / re-ripens…

Springtime, man. 🙂


The Crew • Happy Mama’s Day to all those mamas out there. But especially to this one.


L. M. Sacasas

The way of the tourist is to consume; the way of the pilgrim is to be consumed. To the tourist the journey is a means. The pilgrim understands that it is both a means and an end in itself. The tourist and the pilgrim experience time differently. For the former, time is the foe that gives consumption its urgency. For the latter, time is a gift in which the possibility of the journey is actualized. Or better, for the pilgrim time is already surrendered to the journey that, sooner or later, will come to its end. The tourist bends the place to the shape of the self. The pilgrim is bent to shape of the journey.


A friend recently posted a quote from Matthew Crawford’s book Why We Drive, which sparked a little conversation on the topic, and the virtue-or-lack-thereof, of “eyesore yards.”

Not that I disagree entirely with anything that was said, but as someone who buys it a bit more, I’d like to chyme in and attempt to steelman Crawford’s argument a bit.

Since this might be longer than a comment, and since it’s a topic I’m down with, I decided to post here instead of blowing up the thread.

Here’s the quote that was shared:

Nobody wants to live next to a Superfund site; I get that. My point is that our judgments of “responsibility” get clouded with aesthetic considerations that are in turn wrapped up with class-based forms of self-regard and virtue signaling. Zoning laws, as well as the informal norms of bourgeois environmentalism, serve to maintain social demarcations (and with them, wildly divergent property values). They also enforce the planned obsolescence that our economy is based on.

People who work on old cars, whether as enthusiasts or out of necessity, are out of step with this regime.

I may have forgotten things from the book, but I don’t think that Crawford wants to have an eyesore yard himself, nor do I think he wants his neighbors to have eyesore yards. It’s certainly not a question of admiration for anything called an eyesore. What Crawford is relentless about is the nearly culturally enforced assumption that aesthetically pleasing yards are concomitant with responsible environmental care. This is very much tied up with his argument about the various forms of the Cash For Clunkers business, going as far back as the 70s, which not only failed to live up to their stated goals, but it is not even clear that their stated goals were worthy, or transparent, in the first place.

As he puts it:

Superficially, litter and the rusting carcasses of salvaged cars are both an affront to the eye. But while litter exemplifies that lack of stewardship that is the ethical core of a throwaway society, the visible presence of old cars represents quite the opposite. Yet these are easily conflated under the environmentalist aesthetic, and the result has been to impart a heightened moral status to Americans’ prejudice against the old, now dignified as an expression of civic responsibility.

Civic responsibility qua dignified aesthetic expression. Nail on head, I say. He takes this argument further into the green movement, the main critique being against a culture that seems more than content with the show of environmental care over the act of environmental care.

So the point is not to praise eyesore junk yards or lazy neighbors but to force an admission: What the culture views as dirty can and might be in reality cleaner than what the culture views as clean. It is quite possible, even likely, that the redneck real-life Red Green, with the washing machine, rusted pickup, and 1400 hub caps in his yard, who never travels more than 50 miles from his home, refuses to buy a smart phone, and absolutely denies that anthropogenic global warming is real, is a more environmentally friendly human being (in real terms, not intentional or signaled terms) than the globe-trotting e-car-driving Apple jockey, whose neither phone nor car is ever more than 2 years old, whose yard is as free of weeds as it is of anything that rusts or rots, and who considers the reduction of greenhouse gases the number one priority for humans today. (And, let’s be honest, who probably spends a great deal of time congratulating his ego for his environmental conscientiousness.)

The details of any of these stereotypes can be extended or played with, and they all break down at some point. But the point about the clean green zeitgeist, the aesthetically and superficially driven morality, is, to me, beyond valid. And if nothing else, Crawford’s soapbox about it represents a needed version of humility towards those nasty, dirty RCOs 🤓


Holy shit. We’ve been doing Easter so wrong!


Oliver Burkeman:

I agree with the AI boosters that there’s no reason to assume AI won’t match the output of a human in any given field. But this misses the point. The point about a good novel produced by a human (or a song, or painting, or dare I say it, an email newsletter) isn’t that only a human could ever have produced it. It’s that a human did in fact produce it.


Timber drift at Fairy Lake