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Tuesday, April 30, 2013

The Metastasy of Wickedness


Left: Rembrandt van Rijn (1606-1669)
Syndics of the Draper's Guild
1661
75.4 in x 109.8 in
Oil on canvas
Rijksmuseum, Amsterdam

Right: Rembrandt van Rijn (1606-1669)
Self-portrait
1659
Oil on canvas
33.3 in x 26 in
National Gallery of Art, Washington DC

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The Metastasy of Wickedness
By: Kristor
The Orthosphere
April 29, 2013


The basic operation of every society is maintaining its essential order – the order that makes it the society that it is – in the face of adversity. It is the work of tradition: of transferring to rising generations the essential order of their forefathers, amended at the margin, or accidentally, so as to cope with changes in the environment.

This interminable project of social reproduction requires practical wisdom. And practical wisdom is possible only to the virtuous man, and then only to the extent of his virtue. Societies live or die, then, depending upon their preponderant degree of virtue. This is just as true for societies of multi-celled organisms – i.e., for men themselves – as it is for societies of men. It is true for any social organism: for the family, for the tribe, clan or people, for the church, for the guild or business enterprise, for the town or for the nation.

Thus the basic task of social existence, the quotidian moral housekeeping that is the sine qua non of successful social life, is the attainment and maintenance of virtue. The first and most basic product of society then, is righteousness. All other economic production is founded upon it. Worldly success – survival, vigor, prosperity, strength – is the fruit of practical wisdom, of applied virtue. Prosperity, then, is a fairly good indication of virtue.

There are to be sure in this Fallen world many ways to get rich by wickedness. Thus the fact that a man is rich is no sure indication that he is mostly righteous. But even ill-gotten wealth, such as that of the thief or gangster, is the product of a kind of virtue – a corrupted and ill-directed excellence, yes, but an excellence nonetheless (the competition among gangsters is keen, and ruthless; only the best survive). Likewise for the wealth of the corrupt executive or politician. The excellence of these sorts of men lies in their ability to game the system: to exploit the niches created by defects of the social order.

Such men are always with us. And indeed, they are not altogether useless, or they would never have succeeded at what they do. The corrupt politician succeeds by pleasing his constituents and his customers; the thief succeeds by pleasing his fences with the goods he offers; the Mafioso succeeds by pleasing the customers of his drug distribution system. The social utility of such men derives quite directly from their gaming of the system. In effect, their exploitation of defects in the system design corrects for those defects, or at least compensates for them.[1] Their gaming activities are similar in some ways to arbitrage. Like the arbitrageur, the wicked exploiter restores some equilibrium or other, and compensates for a defect of society.[2]

Can the system be gamed? It will be. Indeed, it ought to be.

Sins are corrupted virtues. So long as society is so ordered as to promote or encourage or reward vice, there will be vice. The control of vice and the promotion of virtue therefore depends, not on the elimination of the vicious – who are, after all, only responding rationally (if amorally) to the vicious environment in which they find themselves, and who if eliminated will be replaced – but of the weakness and perversity of the system itself.

There is then ever a need for systemic social reform. And like the requirement that a society learn to adapt to changes in its environment, the need for social reform is permanent. The first is analogous to eating, the second to sleeping. The work of social reform is interminable, for most innovations fail – fail to work as intended, or even worsen the situation. Even with reforms that succeed at their ostensible goal, there is a very good probability that they will create new and unanticipated system defects in their own right, new niches for new sorts of viciousness.

Utopian idealists overlook this difficulty. The utopian temptation is to the notion that we can get everything right. The essence of conservatism lies in the recognition that we never ever will.

That social reform is a hazardous undertaking does not mean that we ought therefore to be afraid of it. Indeed, timorousness with respect to correction of social defects is a recipe for social death. To death, there is at any time no alternative but to try to do better. We ought therefore rather as reformers to be careful, prudent, deliberate, judicious, and sagacious. I.e., practically virtuous.

Above all, we must be honest. Social defects generally arise due to noise of some sort, somewhere in the system. Noise misleads people about the true state of affairs, and so distorts their judgements, impoverishing them. So long as it continues, it prevents them from learning: from correcting their understanding, and making the commensurate tiny marginal adjustments in their own lives that could repair those distortions of judgement, and stop the losses they generated. It is just such individual adjustments that, as integrated across the whole culture, can organically correct the systemic defects that produced the noise in the first place. If you want a prosperous, happy society, you need first a proper understanding of the weaknesses that prevent it. This is why humans spend so much time talking to each other about what is happening, and why, and what ought to be done about it.

Dishonesty, then, or lack of candor, cannot but increase the noise to signal ratio. It’s no good to pretend that a problem is not a problem (e.g., “Muslim immigration is just fine.”), or to present a bug as a feature (e.g., “homosexuality is natural and good.”). If the Emperor is naked, we are obliged to notice the fact, and inform each other about it. Likewise it’s no good to cry wolf about a problem that is not really there (e.g., “Not everyone is equally talented, beautiful, rich, prestigious, and famous: it’s not fair!”).

Unfortunately, even when our understanding of the source of a problem is accurate, our first impulse – whether amending our own habits, or those of our polis – is to force a correction in the outputs of the system, without correcting the distortion in the inputs that generated the loss of output value we have noticed as problematic. We treat the symptom, rather than the disease; so the treatment of symptoms generated by a chronic disease becomes itself chronic, along with its side effects, each of which calls out in turn for additional chronic compensations. Does the unregulated steam engine whirl about so fast that it flies apart? Our first thought is to install a brake that engages at a threshold RPM. But this eventually threatens to result in an explosion of the boiler, so some additional measure must taken as well – perhaps stationing an operator at the engine, who can throttle it back before the brake engages. The operator has to be hired, trained, paid, supervised; and so forth.

Given the danger that any reform is likely to create new problems, what, then, ought to be the basic form of social reforms, the default option? This: the identification of the source of the noise that has led to a loss of value, and the correction of the defect in the signaling system. The basic question should be, “where are the feedback circuits broken or incomplete, and how may they be restored or completed without breaking other circuits?” An economist would characterize this procedure as the perfection of the market, as the correction of its failures – to identify the real costs that market signals are not properly accounting for, and to improve price discovery procedures so that they do. Returning to the analogy of the steam engine, the reduction of noise, or equivalently the increase in the information accounted for by the system, would recommend the installation of a governor, that would reduce the fuel supply automatically as RPMs approached the critical threshold.

As things now stand, the people charged with the reformation of society – chiefly our legislators, but by extension everyone who participates in politics, from executives and bureaucrats to lobbyists and electors, both the regulators and the regulated, and especially the media – are rewarded for increasing the noise of our social system. Where there is a problem, especially of the sort caused by the brakes they have already installed, they are encouraged to apply further brakes to the brakes, and brakes to the brakes to the brakes, and so on ad infinitum. This is why our code of laws has metastasized, so that laws proliferate without let or hindrance, and so that they more and more pervade every aspect of our lives, no matter how humble.

The system design defect that generates this sort of runaway growth lies in the fact that there is no feedback from the success or failure of social policy to the formation thereof. The social costs of political imprudence and the social benefits of political prudence are likewise buffered, muddled, and masked. Put differently, vice is not discouraged efficaciously, nor is virtue reliably rewarded. Indeed, the basic feedback circuit of a democracy characterized by universal suffrage is positive, a vicious cycle: the electorate is strongly motivated to vote themselves more benefits and lower taxes, more liberty to act out with fewer limits or constraints, or costs, for doing so. The more people see they can get from the state, the more they vote to get from the state. Nothing signals to them that they are demanding too much, that they are eating cultural seed corn. In the circumstances, any other behavior on their part would be irrational. So the bankruptcy of the system – economic, moral, and intellectual – is hardwired in.

As that bankruptcy approaches, the universal franchise makes of every man a thief. By rewarding political imprudence, it vitiates prudence in every other domain of life. It forces every citizen into daily combat in a war of each social atom against all others. It rewards gluttony and penalizes discipline, deferral of gratification, and every sort of capital investment, from savings to charitable or familiar altruism. It reduces all social intercourse to a system of explicit economic exchange. It saps authority of all sorts, especially doctrinal or philosophical authority: no doctrine is permitted to gain sway over the immediate pushes and pulls of the next few minutes. Thus it renders any transcendence of perspective irrational (this is why they call us fundamentalists “crazy”).

Because in a demos of gluttons where all values are rapidly inflating it is sensible only to grab as much as one can get and immediately devour it, the universal franchise tends rapidly toward the destruction of love and the triumph of nihilism and despair. In the limit, it promotes a culture that seeks in each man the death of all others. Its apotheosis is the Culture of Death, in which living children – the future of the species – are killed on account of the short term costs they impose upon parents.

This is Garrett Hardin’s Tragedy of the Commons, writ nationally large, and deep as Hell.

But what if the current positive feedback circuit could be re-wired so that it was a negative feedback circuit, like that of the steam engine and its governor? What if the penalties for vicious and imprudent political decisions were immediate and severe, while the rewards for virtuous, prudent political decisions were both explicit and compelling?

I’ll address those questions in a subsequent post.

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[1] Such men are generally uninterested in the systemic correction of the defects in the social system that have opened the economic niches from which they gain their livelihood. Indeed, their interests lie in the protection of their niches, and thus in the maintenance and proliferation of social defects. That interest in the increase of preponderant wickedness among their fellows (so as to expand the size of the markets into which they can sell) is the primary reason they are considered enemies of society, even though they are providing products and services that their customers value. An acquaintance who is a professional gambler in Las Vegas tells me that the Mob keeps prostitution illegal in that county (it is perfectly legal in most of the sparsely populated counties of Nevada) so that they can continue to control the industry in its densest market, thus keeping the prices and profit margins high where it matters most.

Likewise, the liberals who make a living on race-baiting or administering affirmative action programs have no interest in actually solving the problems to whose amelioration they have ostensibly committed their careers. Should a systemic amelioration arise organically – as tends to happen with adaptive cooperative systems with distributed intelligent control – they may be relied upon to move the goalposts.

[2] I leave the connection between wicked gaming of the system and Game to the reader. I’m not sure that they are the same sort of thing, but it might be interesting to think about. As there are wicked exploiters, so there are virtuous exploiters, such as the arbitrageur who is a fair trader. So are there likewise both wicked and righteous Gamers?

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Posted By: Kidist P. Asrat
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"I Felt Embarrassed for Her"



I wrote the post on Diana West with some trepidation, but since this is a site about beauty, and feminine beauty is a part of beauty, I felt it was necessary to point out the problems with modern women (conservative or liberal) in the public sphere. I'm not the only one who feels that way.

Debra Chameberlin writes:
I really, really like Diana West and visit her website at least daily, and I recommend it to others often throughout the week. She's among only a handful of true journalists, looking for truth and unafraid to report her findings, especially as it relates to Islam and its encroachment into our society and its ominous influence in our media and government. But I do wish that for interviews of this type, the one at ERAU Florida, she would wear a more modest skirt, perhaps a just-below-the-knee, flowing type of skirt, one with crinkle pleats or something. I was distracted by so much thigh skin being exposed, and I felt embarrassed for her, whom I admire so much. I am in the process of reading one of the books she mentioned, "Stalin's Secret Agents," so I am keenly interested in her new book and eagerly awaiting its release. (A side note: my daughter is an ERAU graduate of the Prescott, AZ., campus.)
Debra Chamberlin
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Posted By: Kidist P. Asrat
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Serious Talk While Maneuvering Mini-Skirts

I was looking forward to listening to Diana West's interview at the Presidential Speakers Series sponsored by Embry Riddle Aeronautical University in Daytona where she discusses her upcoming book American Betrayal: The Secret Assault on Our Nation's Character. The youtube video is an hour long, actually an hour and a half, so I found a long stretch of time where I could stay uninterrupted. The first couple of minutes of the video showed me this:



I stopped the video, and went back to the website to see if there was any transcript or a review of the interview. I wasn't going to watch West maneuver a mini-skirt, perched on a low sofa. I was disappointed. Actually, I was angry. I don't see how a middle-aged woman can sit with exposed thighs during a serious interview about a scholarly book.

It's a pity I didn't see West's C-Span interview first, which is posted at West's website, although she's wearing the irritating, ubiquitous pants.



Here is a video where West is being interviewed by the Canadian Michael Coren on his program The Arena. It is a "talking head" video, which is how Coren presents all his interviews. That is probably the best way to conduct such interviews, so our distraction (from the stage, seating, the suits and dresses, etc.) is minimal, and we really do concentrate on what people are saying.

What all this means is that whatever women wear, or do to their hair and their make-up, will be up for scrutiny, and their very presence will detract from the message they wish to convey. And all women will want to "look good," so they themselves, including the serious ones like West, contribute to the visually biased way they are perceived.

I've read West's Death of the Grown up, and wrote on it at Camera Lucida:
I just finished reading Diana West's brilliant book "The Death of the Grown-Up: How America's Arrested Development Is Bringing Down Western Civilization". It is wittily written, and connects many unlikely, but under West's pen, quite convincing, dots. She attributes this death of the grown up to the "birth of the teenager", which she says occurred around WWII. At this time, teenagers' sudden economic ascendancy gave them financial clout and independence to determined everything from pop music to fashion, and where they would go with their newly bought cars, without their parents’ presence, or even rules. But I think her rather mildly argued idea that all this might have started during the War, rather than after, more original. Young boys, left behind without the role model of fathers, and with the changing roles of their working mothers, shifted their attitudes about maleness that made the supremacy of the teenager possible. She writes:
Many of these youngsters...had experienced the war as a period of uprootedness: "Shepherded by women, they moved through strange cities and new schools, with only their teenage scenes in which to make sense of the world" [writes Phillih H. Ennis, rock and roll historian].
And who gave them this teenaged centeredness? None other than Elvis Presley, who:
[W]as too young to have seen action in either World War II or Korea. As a result, he gained prominence as a peacetime idol independent of "the adults who guided the nation through the great war." [This gave Presley] a connection with the younger generation of children, kids whose fathers and older brothers had gone to war.
Those future teenagers, guided by rock 'n' roll and an independent capacity to make their own money, which they used for their own enjoyment including buying their own records, no longer needed (or more accurately, allowed) their parents to intervene in their lives. West's last two chapters deal with our current war against Islam. She attributes our inability to face this war head on to our lost adulthood. So, a cultural abnormality becomes a civilizational disability, which may prevent us from standing up, like true soldiers, to fight this epic battle of our lives. Ultimately, West gives us hope that by identifying and recognizing the problem, as she has done so succinctly, we can be lulled out of our false childhood, and return to our normal and necessary maturity.
Like Pamela Geller, another prominent woman who writes books and appears on television shows (whose celebrity-chic style I briefly mention here), West is also keenly in tune with the encroachment of Islam in American life, and writes about it in her website and articles. Perhaps it is the stages on which they appear - television shows, radio interviews, conferences in exotic locations - that gives these women the impression that they need to glamorize their appearances. And ultimately, what woman doesn't want to look good, if not pretty and beautiful, whatever she's doing?

These are examples of how women are unsuited to public and political lives.
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Posted By: Kidist P. Asrat
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Monday, April 29, 2013

Reclaiming Beauty from Butch Feminists on Motorcycles


Reclaiming Beauty: Saw Mill River Parkway in New York
[Image from: Saw Mill River Parkway]

At Laura Wood's The Thinking Housewife, a commentator writes about the motorcycle death of:
Mary Thom, former editor of Ms. Magazine and a guiding force of the American feminist movement.
Her obituary in the New York Times reads:
Ms. Thom never married, and her friends said her true love was her motorcycle, a 1996 Honda Magna 750. On it, she zipped around town — to dinners in the West Village, feminist talks, and back home to her apartment on the Upper West Side.

On Friday, she was riding on the Saw Mill River Parkway shortly after 4 p.m. when she hit a car, throwing her onto the road, the Westchester County police said. She was pronounced dead at the scene.
Like one of Laura's correspondents, I laughed out loud that this "true love" of hers failed her at the end.

Another correspondent notes:
It always bothers me to read about a feminist (particularly a butch one) named "Mary." Such a beautiful name.
That was my second thought, after I got over the Monty Pythonesque imagery I had for a few seconds.

The simple and lovely two-syllable name holds so much within those few letters. We should have a law that only Christians can have that name. At baptism, priests should make it clear that if the girl, once grown, wishes to keep the name, she has to show regular commitment to her faith. Otherwise, a priestly committee will not deem the name worthy of her, and will remove it.

Take that, committees of feminists.

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Hell's Grannies take on the town on their motorcycles (don't mind the first few seconds, the punchline of the joke is "Boo").

Starting around the 3:40 point:



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Posted By: Kidist P. Asrat
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Pamela Geller's Organization and its "Freedom of Conscience"


Armed with a shopping bag and a swath of lipstick,
Pamela Geller is ready to fight for "freedom of conscience"


I wrote a long post on Pamela Geller's views on Islam, based on her recently published book Freedom or Submission: On the Dangers of Islamic Extremism and American Complacency.

One of the things I pointed out, from the the chapter headings of her book, was the chapter America's Choice: Freedom or Submission. I wrote:
The choice is not between freedom and loss of freedom, although Islam will curtail our freedom, but a choice between a Western, Christian land or a land that becomes a dhimmie to Islam.
In a recent posting at her site Atlas Shrugs, Geller wrote the following about her organization American Freedom Defense Initiative:
AFDI stands for:
The freedom of speech – as opposed to Islamic prohibitions of "blasphemy" and "slander," which are used effectively to quash honest discussion of jihad and Islamic supremacism.
The freedom of conscience – as opposed to the Islamic death penalty for apostasy
The equality of rights of all people before the law – as opposed to Sharia's institutionalized discrimination against women and non-Muslims.
I've gone in detail in my last posting about the problem with words like "supremacism" and "extremists" when discussing Muslims and Islam (these "conditions" don't exist, Muslims are Muslim, and they believe in Islam), but here is Geller, once again refuses to add more weight to the religious component.

I have written that Geller is Jewish, but I didn't want to write that Geller is a secular Jew, who uses her Jewishness as an ethnic and cultural definition, rather than a religious one.

Now, I can concluded that she is an atheist, and that is why she is unable to take seriously the religious element of our existential war.

In her final line for "AFDI stands for" she writes:
The freedom of conscience – as opposed to the Islamic death penalty for apostasy
She clearly notes the religious aspect of death for non-Muslims, or apostates, in Islamic law (or sharia), yet her counter-punch to prevent this, and to fight against it, is "freedom of conscience."

Of course, what she means is "freedom of religion" or the freedom to believe in whatever one wishes.

In other words, Muslims can have the strong armor of their religion through which they pursue, as mandated and directed by their god, to spread their message, whereas the rest of the world, and of course specifically the Western Christian world and America can only rely on "freedom of conscience."

It is very hard to do good. The good we do may come through bitter, and deadly battles. The good we do may need to be manifested through war. Our "freedom of conscience" forces us to be good without the necessary steely backbone of our conviction that we are right to do this good. And that kind of backbone only comes through religion, as the Muslims well know. And that kind of "goodness" can capitulate when faced with the hard decisions.

As I've written, our counter-punch to Islam is Christianity. Not "freedom of conscience." That is what will give us the steely backbone. Without it, we will vacillate between sword rattling and, more often, appeasement and retreat.

Pamela Geller's photo on the poster for her Toronto appearance at the Jewish Defense League of Canada:


All in the name of love
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Posted By: Kidist P. Asrat
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There are no Extremist Muslims: Unraveling Pamela Geller's Dangerous Mistake



I've been getting emails from an email-list about Pamela Geller's visit to Canada to present her book Freedom or Submission: On the Dangers of Islamic Extremism & American Complacency at the Jewish Defense League in Toronto. I won't be attending.

I think there is enough information out on Islam in books, in a myriad of websites and blogs, and in countless articles. Consequently, people can now easily obtain this information even if (since) mainstream sources most likely wont provide them. If by now people are not proficient in the basics of Islam, they: a. don't want to be proficient in the basics of Islam, b. they agree with "religion of peace" mantra that is part of Muslim propaganda, or c. they are just not interested in Islam and the harm it is doing to our civilization. Another book isn't going to bring them any more awareness.

But, the most important thing we can reiterate, and perhaps this is why Geller feels compelled to write yet another book, is to continue to accurately define the words associated with Islam and Muslims and not to allow other sources (mainstream media, Muslim translators, etc.) to define them for us based on their biases.

Muslims don't call themselves extremists. They are simply Muslims and following the tenets of the written testaments of Mohammed in the Koran as mandated by Allah. In fact, calling them extremists, with its implications of their irrationality and mental deficiency, might incite their wrath. Muslims are rationally following Islam's teachings. We are the ones labeling them irrational. We are the pompous critics of Islam implicitly calling Muslims stupid liars.

There is no negotiating with Muslims, but I would wager that they have more respect for those who call them what they are - followers of Allah - than for those who denounce their sanity. Although, and let me be clear about this, the ultimate goal of Islam and Muslims is the Ummah, the universal presence of Islam on our earth where everyone bows to the same god Allah. Those who refuse to accept this will suffer the consequences of their refusal, either through death, or through perennial submission to Islam. There are no allies in Islam, only Muslims.

That is why I think Geller is a danger to the non-Muslim world. Rather than spell out the reality of Islam, of which she must be acutely aware since she has spent countless hours studying, writing about, speaking on Islam, more than most people and possibly more than most Islamic scholars (Muslim or not), she engages in wishful and erroneous thinking.

So, let us look at the words "Muslim extremists." There are no extremist Muslims. There are only Muslims. It is like calling Christians who say they believe in the Bible extremists. But the difference here is that the Bible doesn't incite Christians into violent and "extremist" behavior, whereas the Koran does. Muslims are only following their guide. They will never say they are extremists. They will vociferously and adamantly say that they are humbly and loyally following the writings of their god. They are good Muslims. And Mohammed, through Allah, has spelled out to Muslims specific cases where violence and killings are permissible and even necessary.

Rather than help non-Muslims understand this dangerous religion, what Geller does is become an apologist for Islam. She doesn't realize, and therefore cannot explain, that the so-called extremist versions of Islam are ingrained in the more benign ones, and there is no untangling the two. Young men may go on jihadi death missions, yet their families would never renounce them, and in fact celebrate them as heroes. Imagine if a Christian man were to strap bombs on his chest, and the explosion kills him as well as tens of others touted as enemies of Christ? We have witnessed some similar incidents in cult movements, although their methodology for death does not come close to the violence we see with Muslims. And further investigation in these groups reveal that they are not following Christian tenets, but have invented their own religion. These we can call irrational, insane and certainly not Christian. And the young Christian man, with the bomb strapped to his chest ready to explode in a crowded bus or a busy street, shouting "Glory be to God" and celebrating in advance his admittance into heaven? Well he doesn't exist, has never existed, and will never exist.

By not explaining Islam in a correct way, Geller and her followers, who by the responses to her books, her speeches and her writings, are a significant number, make it easier for Islam to furtively flourish in the West. Non-Muslims continue to blithely ignore the dangers that Islam brings, and do not prepare themselves for the assaults. They do not take initial measures to avoid conflicts with Muslims, and once the conflicts have started, they do not realize the seriousness behind Muslims' attacks, and assume that these attacks are like bush fires which can be extinguished with one squirt of water, never to return again. Non-Muslims seriously underestimate their enemy, if they even call Muslims their enemy.

I gleaned through Geller's book chapters the chapter titles below (found at this site). I have added my brief commentary in bold.

Much of the book looks like a descriptive account of Islam. As I've written above, all this information is abundantly available in book or digital form, on television recordings, in on-line forums and websites. It is not hard to find the information. We know it already. Perhaps this endless repetition is necessary, if nothing but to keep us continually alert. But my critique of Geller is that her conclusions, and hence her guide-lines, are erroneous, and consequently dangerous.

Table of contents for Pamela Geller's Freedom or Submission: On the Dangers of Islamic Extremism American Complacency:
Introduction
- Preface
- Now More than Ever
- America's Choice: Freedom or Submission [The choice is not between freedom and loss of freedom, although Islam will curtail our freedom, but a choice between a Western, Christian land or a land that becomes a dhimmie to Islam]

The Reality of Islamic Extremism [Once again, Islam is not "extremist." It is a religion with clear-cut spiritual and secular guidelines. But, we can call it a faulty system. If we call Islam "extremist" then we are not taking it, and its millions of adherents seriously.]
- Three Jihadis
- Pro-Gay Equals Anti-Sharia [Geller is cornering us into defending the gay life-style, which Christianity unequivocally rejects.]
- Savage Muslims Hurt Anti-Semitic Slurs at Jewish Girls, in Second Incident in Last Week
- Battling for Victims of Muslim Tyranny
- Jew-Killing Jihadist Now a Hero [Perhaps Geller's urgent appeals are linked to her Jewishness. She knows from the Koran that Jews are the most reviled by Muslims, and that they are the first to be attacked. In that sense, her voice would have been useful without the detraction of all her other causes.]

Shariah in America
- Islamization of America Accelerates
- Opposing Honor Killing Is ‘Islamophobia'? [Geller runs to the rescue of "honor" killings girls, whereas Muslims quite logically destroy those who denounce Islam, including young girls who attach themselves to non-Muslim men.]
- Hamas-Linked CAIR in Your Kids' Classroom
- Hundreds of Threats for Assault Victim in Case Dismissed by Quran-Minded Judge
- Ground Zero: Yes to Mosque, No to Church
- Illinois Governor's Hamas Council
- Muslim Polygamy—In Seattle
- USDA Aids Hamas-Linked ‘Islamic Relief' [Geller sensibly alerts us to the systemic, governmental support for Islam in Western countries. But once again, she doesn't realize that non-"extreme" elements like Muslim parents who bring up their children with Islam while living in Christian and Western countries are providing the fuel for these "radical" elements. Since she doesn't see this as an accumulating danger, she provides no solution, or doesn't want to provide the logical solution, which is to remove elements of Islam, and to substantially reduce Muslims in Western countries, through restricted immigration, return of Muslims to their lands of origin, removal of Islam from public places including mosques and schools, and outlawing sharia law.]
- Islamizing the Curriculum in Georgia
- Obama's Department of Shariah
- Happy Halal Thanksgiving
- Infidel Victim of Pennsylvania Sharia Judge Reveals Inside Details of Case
- All-American Judge Hands Down Sharia Justice
- Defending Shariah in America

AFDI's Pro-Israel Ad : The War on Free Speech
- Battling for Free Speech in New York [What Geller means here is the ability to speak against Islam without legal repercussions (such as going to jail for "hate speech"). But, since the most contentious culprit against free speech is Islam, then the solution is not to change "free speech laws" to battle Islam, but to remove Islam so we don't have to re-write our laws.]
- Fighting Back in the War on Free Speech
- Terrorism Works: Dhimmi DC Transit Authority Cancels AFDI Pro-Israel Ads ["Terrorism" is the favourite word for writers like Geller while describing certain Muslim attacks. Islam's explosive jihad is not terrorism. Muslims are not trying to terrorize non-Muslims. They are following the Koran, and are simply waging a religious war albeit at times with terrorist tactics.]
- Judicial Smackdown: NY Judge Slams NYC MTA in AFDI Free Speech Ruling
- Free Speech Under Siege in U.S. District Court in the Nation's Capital
- Muslim CNN “Journalist” Vandalizes Subway Ad
- My Ad Is Not Hate Speech—It's Love Speech [Geller wants to be the do-gooder, the non-hater. She initiated a pro-Israel, anti-Jihad poster campaign on buses and subways in New York, yet she has to camouflage it with the "language of love" which she may think is enough to ward off, and appease, Muslims. Islam doesn't care about Christian (and Jewish) love. It doesn't care about getting along with Christians and Jews.]
- In Defense of the Indefensible
- Chicago AFDI Bus Ads: Obama's Pro-Jihad Jews Come Against Pro-Israel Ad
- Speak Out NYC: A Free Speech Response to Hamas-CAIR's Hate Campaign

Obama
- American Jews' Responsibility to Oust Obama
- Obama Epic Fail: Four US Soldiers Killed in Afghan ‘Insider' Attack, 3rd Attack in 3 Days
- Obama 2012: Stealing Bush's Legacy
- Afghan Helicopter Attack, Obama's Fault
- Does Obama Want a Universal Caliphate?
- Why Obama Betrayed the Iranian People
- Stop Apologizing and Start Carpet-Bombing
- Barack Hussein's Peace Partners, Taliban, Behead 6-Year-Old-Girl and 12-Year-Old-Boy
- Obama's War Against the NYPD
- You Just Knew This Was Coming: Obama Demands Israel Delay Critical Ground Operation

Standing for Freedom
- Video: Tommy Robinson, EDL Leader, at SION 911 International Freedom of Speech Congress
- Darkness Descending in England
- Anders Gravers, SIOE Leader, At SION 911 International Freedom of Speech Congress
- The Shariah Assault

The Enemedia [It is unnecessary to put too much energy criticizing and "outing" Islam-friendly mainstream media. Most people know by now these biases. It is more efficient to educate people about alternative sources of information.]
- AP's War on National Security
- Media Jihad
- The Dhimmedia's Whitewashing of Honor Killing [Our role is not the rejection or the acceptance of honor killings. Our role needs to be a larger effort to remove Islam and its horrific influences from our societies.]
- Sharia-Compliant Enemedia Goes After Free Speech in Wake of Murderous Muslim Attack on Embassies in Egypt and Libya
- The Marines' Victory Tinkle
- N.Y. Times Surrenders to Savagery
- Huffington Post's Pro-Jihad Propaganda
- Unhinged Media's Mythical “Hate Crime” Is an Honor Killing
- Chicago: Pro-Israel Ads “Spark Outrage” from WGN's Dan Ponce, Who Shamelessly Shills for Hamas-CAIR
- Jewicidal Millionaire Activist Sides with Islamic Supremacist Smear Merchants Against Pro-Israel Ad
Conclusion
- Conclusion
Below is the preface from Freedom or Submission: On the Dangers of Islamic Extremism & American Complacency.:
We are at war. Our mortal enemy has made no secret of its goal and stated aim: “eliminating and destroying Western civilization from within and sabotaging its miserable house,” and installing a universal caliphate. Pretending that fourteen hundred years of Islamic imperialism and expansionism didn't happen doesn't change reality.

Ayn Rand said that you can avoid reality, but you cannot avoid the consequences of avoiding reality. If you refuse to fight, you forfeit. If you forfeit, you lose. And I mean, lose everything. The stakes couldn’t be higher.

Islamic supremacists [there are no Islamic "supremacists." They are simply the fighting vanguard of Islam.] are more assertive in the United States than they ever have been before. They’re building large mega-mosques in communities where the local Muslims can neither fill nor afford them. They’re demanding—and receiving—special privileges for Muslims in workplaces and special installations for Islamic prayers in public universities, as well as in airports and other public facilities. (Islamic law places Muslims in a special class, giving them rights that non-Muslims do not have.)

They’re bringing back prayer in public schools—but only for Muslims: they are seeking special legal status for Islam. They’re shutting down the national debate that we urgently need to have about Islam and Islamization [Muslims are not interested in "national debates" with non-Muslims. They are simply interested in usurping other non-Muslim traditions and religions.]. They are demonizing as “bigots,” “racists,” and “Islamophobes” anyone who suggests any anti-terror measure or who asks the Muslim community in the U.S. to do something effective about the jihadists and Islamic supremacists in their midst [Jihadists and supremacists are the avant-garde of Islam. They fight the wars in the trenches. Muslims cannot and will not "do something" about them.].

Fight back. The question isn't who is going to let you, it’s who is going to stop you.

Sunday, April 28, 2013

Book Project: The Sturdy Periwinkle at the Cloisters: Linking the New World with the Old

I will develop this essay outline for the Nature chapter, under Gardens, or in Chapter Four's Culture and Society . Some of the information is at this blog post from February 2013 in Reclaiming Beauty.


The Trie Garden in the Cloisters
Discussed in: Garden Guide: New York City pp. 33-37
Cloisters Flowers
[Photo by Kidist P. Asrat, August 2012]


The Cloisters show the us the New World's medieval, European historical and cultural inheritance. Yet, although the Cloisters seem to take us that far back in time, the Hudson River below, and the George Washington Bridge in the distance soon brings us to the present, to New York and to the New World. In New York, we have a New World city that has a historical link going further back than medieval Europe to ancient Greece and Rome, as medieval Europe inherited its culture and history from ancient Greece and Rome. Thus, the history of New York, like the history of America, is tied to Antiquity, which is the root of Western civilization. Historians and anthropologists have tried to expand America's cultural and historical inheritance to cover the breadth of the world. "America," they tell us "is multicultural." By that they mean that since contemporary America appears to accommodate every race and culture of the world, then America is an amalgam of the world's histories and cultures: Chinese, Indian, African, Southern European, South American.

By virtue of having landed on her shores, anyone can become an American, bringing with him a piece of himself which becomes ingrained in this multicultural fabric. But nothing could be further than the truth.

The earliest arrivals, admittedly are the non-Europeans Indians, who crossed the span of the country securing some kind of territorial possession. Yet, we cannot allocate land to anyone who put up a post (and often temporary), and lived in dispersed and often warring communities. The Indians did not form a cohesive society or culture that could have built up the vast land the occupied in clumps of tribes, leaving vast spaces empty, uninhabited and uncultivated. That was the accomplishment of the later arrivals, the Europeans. The Bible tells us, and we should dutifully listen, that God rewards those who bring back more than they were give.
14 "For the kingdom of heaven is like a man traveling to a far country, who called his own servants and delivered his goods to them.

15 And to one he gave five talents, to another two, and to another one, to each according to his own ability; and immediately he went on a journey.

16 Then he who had received the five talents went and traded with them, and made another five talents.

17 And likewise he who had received two gained two more also.

18 But he who had received one went and dug in the ground, and hid his lord’s money.

19 After a long time the lord of those servants came and settled accounts with them.

20 "So he who had received five talents came and brought five other talents, saying, 'Lord, you delivered to me five talents; look, I have gained five more talents besides them.'

21 His lord said to him, 'Well done, good and faithful servant; you were faithful over a few things, I will make you ruler over many things. Enter into the joy of your lord.'

22 He also who had received two talents came and said, 'Lord, you delivered to me two talents; look, I have gained two more talents besides them.'

23 His lord said to him, 'Well done, good and faithful servant; you have been faithful over a few things, I will make you ruler over many things. Enter into the joy of your lord.'

24 "Then he who had received the one talent came and said, 'Lord, I knew you to be a hard man, reaping where you have not sown, and gathering where you have not scattered seed.

25 And I was afraid, and went and hid your talent in the ground. Look, there you have what is yours.'

26 "But his lord answered and said to him, 'You wicked and lazy servant, you knew that I reap where I have not sown, and gather where I have not scattered seed.

27 So you ought to have deposited my money with the bankers, and at my coming I would have received back my own with interest.

28 Therefore take the talent from him, and give it to him who has ten talents.

29 'For to everyone who has, more will be given, and he will have abundance; but from him who does not have, even what he has will be taken away.

30 And cast the unprofitable servant into the outer darkness. There will be weeping and gnashing of teeth.'[Matthew 25: 14-30]
And how do we tackle the multiculturalists, who insist that America is for everyone? It is time that Western, European Americans claim their culture. John D. Rockefeller and George Grey Barnard brought back bricks from ancient castles in France to build the American Cloisters. They traveled to Europe to accumulated the treasures that fill up the museum.
Much of the sculpture at The Cloisters was acquired by George Grey Barnard (1863–1938), a prominent American sculptor and an avid collector of medieval art. Barnard opened his original cloisters on Fort Washington Avenue to the public in 1914; through the generosity of philanthropist and collector John D. Rockefeller, Jr. (1874–1960), the Museum acquired the cloisters and all of their contents in 1925. By 1927, it was clear that a new, larger building would be needed to display the collection in a more scholarly fashion. In addition to financing the conversion of 66.5 acres of land just north of Barnard’s museum into a public park, which would house the new museum, Rockefeller donated 700 additional acres across the Hudson River to the state of New Jersey to ensure that no developments on the property would spoil the view from The Cloisters. In addition to providing the grounds and building to house the Barnard collection, Rockefeller contributed works of art from his own collection—including the celebrated Unicorn Tapestries—and established an endowment for operations and future acquisitions [source: The Cloisters Museum and Gardens].
They made a concerted effort to make the American link an European one, and not Indian (native or continental), Chinese, African or South American. The non-Western's interest in America is not to build this American culture, but to try and leave his own cultural mark. But, that isn't working, since where-ever that happens, the result is destruction. There is no Chinese haute cuisine; there are no Indian cathedrals; there is no African classical art; there is no Mexican architecture. And these multiculturalists know this, since once at the shores of America, they immediately start delineating their boundaries: this is my Indian food, these are my Chinese children, here is my African holiday. Yet, they cannot ignore the beauty and the sophistication of the European culture, and in fact that is why they made the journies across oceans: to bask in the good life of handsome homes, abundant food, erudite teachers, and safe and civilized neighborhoods, many of the things they couldn't get (or get at a price) in the countries they left behind. And still, they insist on maintaining their old beliefs. Mostly because they wouldn't know what to do with the culture that awaits them, but also because their own cultures are like an old sweater which comfort them amidst all this alienness. Material comfort only goes so far. There are also spiritual and psychological comforts to appease.

Their existence is like the last servant in the parable who said: "And I was afraid, and went and hid your talent in the ground," and incurred the wrath of God. Their talent may work in their own lands, and they may indeed double it, but in this continent, they don't know what to do with it, and they let it waste. Their lack of productivity, over time, becomes destructive. Nothing new gets built, and what they live off is what came before them, which diminishes with time. That is where the anger of God came from, not just the wastefulness and laziness of the last servant, but also his lack of imagination and daring in creating less than what he was given.

As I was looking through my files and notes on the Cloisters, mainly to find an appropriate image for the front cover of my proposed book, I found the above photo I took of the garden. I was struck by a tiny flower, the periwinkle (also known as the myrtle).


Periwinkles in the Cloisters
Discussed in Garden Guide: New York City pp. 33-37
Periwinkle Label:
Common Periwinkle, Myrtle
Vinca minor
[Photo by Kidist P. Asrat, August 2012]


The periwinkle, which grows in the gardens of the New York, New World, Cloisters, originated in Europe, and was brought over to North America in the 1700s.
The Trie Cloister Garden is home to a collection of plants native to the meadows, woodlands, and stream banks of Europe. Planted as a single filed of herbs and flowers, the garden evokes the verdant grounds of medieval millefleurs tapestries, in which a myriad species are shown blooming simultaneously. Many of the plants gorwing in the garden can be found in the tapestries on display in the galleries, but they bloom here in their proper season.

The European flora is dominated by spring-blooming plants, and the garden is bright with blossoms in early spring, when hellebores, snowdrops, periwinkles, narcissus, violets, wild pansies and English daisies abound, followed by bluebells, columbine, dame's rocket, and iris in May. Foxglove, clary, meadowsweet and ox-eye daisies bloom well into summer. In July the flowering begins to subside, and the Trie becomes a green garden, in which plants chosen for their form and foliage predominate. Acanthus, royal fern, and flag provide a foil for the lesser number of summer-blooming flowers.

Small shrubs like myrtle and sweet gale give structure to the garden, and are repeated throughout to create a pleasing symmetry. In late summer, the cloister becomes a cool refuge, where the air is perfumed by the pots of poet's jasmine that line the parapets. Water splashes from the fountain at the center, and small birds come to drink from the spouts. [Notes from the information booklet]
In ancient Rome, Pliny wrote in The Natural History of Pliny:
Sprigs of myrtle, if carried by a person when travelling on foot, are found to be very refreshing, on a long journey.
- The information plaque by the periwinkle bed in the Cloisters describes the flower as a medieval cancer treatment:
Annual periwinkles have been used for centuries for folk medicine, especially for treating diabetes, and are the source of several cancer drugs.
- And from this site, on the meaning of the flower's name:
The Latin name of periwinkle's genus, Vinca, is derived from a word meaning "to overcome."
- In Christian symbolism, the periwinkle represents Gentiles converted to Christ.

Such a small flower, with such a sturdy name! And it embodies the spirit of the Western civilization in America: overcoming the odds to arrive on the continent from a distant Europe, and to survive and flourish in America; containing healing and life-prolonging properties; maintaining the spiritual and religious link; and whose presence and benefits are known since Antiquity.

This tiny flower is also featured in art, which the American inheritors have transplanted to their New World shores, in order to link them with their European heritage.


Window with Grisaille Decoration
Date: ca. 1325
Geography: Made in Rouen, France Culture: French
Medium: Pot metal glass, colorless glass, silver stain, and vitreous paint
Dimensions: Overall: 28 1/4 x 23 1/2 in.
The Cloisters Collection

In this fourteenth-century panel, the vibrant color and robust lines of thirteenth-century stained glass were jettisoned in favor of colorless glass painted with leafy vines growing on a trellis. The three foliate designs, each of which is remarkable for its delicacy and refinement, are identifiable not only by their botanical species but also as patterns known to have originated at Saint-Ouen. The two lower panels display the periwinkle flower; the third panel represents the leaf of the strawberry plant; and the top two depict geranium foliage. The colored borders incorporate buttercup leaves with red and green quarries, and the center bosses are composed of whorls of artemisia leaves entwined with knotted ribbons of color. [Notes from theMetropolitan Museum of Art]
The plant forms in this detail are too highly stylized to be botanically identified, with the exception of the grisaille flowering vine with silver stain blossoms. This may be tentatively identified as a species of periwinkle, either Vinca major or V. minor, but it is not a botanically accurate representation. Periwinkle flowers are blue, not yellow or gold, but form is more important in the identification of plants in medieval art than color. Even botanically recognizable plants are represented in color forms other than those found in nature. [Notes from theMetropolitan Museum of Art]

Detail of the top square panel of the grisaille window, with stylized yellow periwinkles, from
stained glass window in the Cloisters' Gothic Hall
The five panels of this lancet window once decorated three different windows in the radiating chapels of the abbey church of Saint-Ouen at Rouen, in Normandy. As reassembled here, the lancet is only one-third its original height. Grisaille glass, which is colorless and translucent, was a popular glazing device in the thirteenth and fourteenth centuries. It not only allows more light into the interior than color-saturated pot-metal glass, grisaille also functions as an unobtrusive background for ornamental motifs painted with fine brush lines. Our glass panels are decorated with stylized yet recognizable plants such as periwinkle, strawberry, and artemisia, forming an elegant network of foliate motifs. The central bosses of the panels are richly colored with deep blue, red, yellow, and green. The bosses would have echoed the brilliantly hued horizontal bands once located at the windows' midpoints, which contained scenes from the life of the saint to whom the chapel was dedicated.

The Early Gothic Hall, Closters
The Early Gothic Hall houses works from the thirteenth and fourteenth centuries. The three thirteenth-century limestone windows overlooking the Hudson River are filled with Gothic stained-glass panels from the cathedrals of Canterbury, Rouen, Soissons, and other sites. Also on view are French, Spanish, and Italian sculptures of the period, as well as an altarpiece depicting the Adoration of the Shepherds painted by the Sienese artist Bartolo di Fredi about 1374. [Notes from the Metropolitan Museum of Art]
This surprising flower is an apt symbol for perseverance and persistence.
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Posted By: Kidist P. Asrat
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Saturday, April 27, 2013

"Traditionalist political efforts should promote changes in general principles, possibly small in immediate effect"



Yesterday, I was reading excerpts from Jim Kalb's The Tyranny of Liberalism, and I found this:
Public Life
Complementary efforts must extend beyond local communities into politics and public life generally. Those efforts would include practical measures to protect particular traditionalist interests from attack...

More fundamentally, traditionalist political efforts should promote changes in general principles, possibly small in immediate effect, that open a door out of liberalism and make a better world possible. We start where we are: immediate radical change is hard to bring about and never works as intended. Final objectives should nonetheless go to the root of the matter. What is needed is not a new system built to order, which will never come into being anyway, but new fundamental principles that can work out their implications over time just as liberalism did. It took three hundred years to progress from John Locke to John Rawls. Something similar may be needed for the renewal of tradition (p. 269).
I was saying the same thing when I wrote in my post: Reclaiming Beauty: Winning Back Our Civilization (which is the proposed title of my book):
Reclaiming beauty is not just an intellectual effort, but it is also an activist's endeavor. There are many activities I envision, such as: Setting up conferences for group discussions and meetings; Providing a forum for writers; Establishing definitions for words such as "beauty" and "reclaim"; Having a voice in political and cultural decisions that affect beauty in our environment (for example, objecting to the building of glass tower sky-scrapers in our neighborhoods); Providing guidelines for every-day beauty, such as dress, etiquette, language; Providing resources for people to learn about beauty's role in our civilization; Alerting people into the ways that beauty is being desecrated and maligned.

Book Project: The Sturdy Periwinkle at the Cloisters: Linking the New World with the Old

I will develop this essay outline for the Nature chapter, under Gardens. Some of the information is at this blog post from February 2013 in Reclaiming Beauty.

Part of the reason I'm using the Cloisters is to show how a medieval, European, background bears the historical and cultural references to the New World. And New York is the epitome of the New World. Although visiting the Cloisters seems to take us back in time, the Hudson River below, and the George Washington Bridge in the distance soon brings us back to the present - to the New World.

The periwinkle seems to embody that. The flower originated in Europe, and was brought over to North America in the 1700 as a horticultural plant.


The Trie Garden in the Cloisters
Discussed in: Garden Guide: New York City pp. 33-37
Cloisters Flowers
[Photo by Kidist P. Asrat, August 2012]

The Trie Cloister Garden is home to a collection of plants native to the meadows, woodlands, and stream banks of Europe. Planted as a single filed of herbs and flowers, the garden evokes the verdant grounds of medieval millefleurs tapestries, in which a myriad species are shown blooming simultaneously. Many of the plants gorwing in the garden can be found in the tapestries on display in the galleries, but they bloom here in their proper season.

The European flora is dominated by spring-blooming plants, and the garden is bright with blossoms in early spring, when hellebores, snowdrops, periwinkles, narcissus, violets, wild pansies and English daisies abound, followed by bluebells, columbine, dame's rocket, and iris in May. Foxglove, clary, meadowsweet and ox-eye daisies bloom well into summer. In July the flowering begins to subside, and the Trie becomes a green garden, in which plants chosen for their form and foliage predominate. Acanthus, royal fern, and flag provide a foil for the lesser number of summer-blooming flowers.

Small shrubs like myrtle and sweet gale give structure to the garden, and are repeated throughout to create a pleasing symmetry. In late summer, the cloister becomes a cool refuge, where the air is perfumed by the pots of poet's jasmine that line the parapets. Water splashes from the fountain at the center, and small birds come to drink from the spouts. [Notes from the information booklet]

[Photo by Kidist P. Asrat, August 2012]

As I was looking through my files and notes on the Cloisters, mainly to find an appropriate image for the front cover of my proposed book, I found the above photo I took of the garden. I was struck by a tiny flower, the periwinkle (also known as the myrtle).


Periwinkles in the Cloisters
Discussed in Garden Guide: New York City pp. 33-37
Periwinkle Label:
Common Periwinkle, Myrtle
Vinca minor
[Photo by Kidist P. Asrat, August 2012]


The periwinkle is also featured in a stained glass window on display in the museum. Although I was able to take a couple of photographs, museum guards soon came to me to tell me I couldn't use a flash. I was unable to take photos of the stained glass with the periwinkle motif, but the Metropoltian Museum of Art, of which the Cloisters are a part, have some images on their website, with descriptive notes.
The five panels of this lancet window once decorated three different windows in the radiating chapels of the abbey church of Saint-Ouen at Rouen, in Normandy. As reassembled here, the lancet is only one-third its original height. Grisaille glass, which is colorless and translucent, was a popular glazing device in the thirteenth and fourteenth centuries. It not only allows more light into the interior than color-saturated pot-metal glass, grisaille also functions as an unobtrusive background for ornamental motifs painted with fine brush lines. Our glass panels are decorated with stylized yet recognizable plants such as periwinkle, strawberry, and artemisia, forming an elegant network of foliate motifs. The central bosses of the panels are richly colored with deep blue, red, yellow, and green. The bosses would have echoed the brilliantly hued horizontal bands once located at the windows' midpoints, which contained scenes from the life of the saint to whom the chapel was dedicated.

The Early Gothic Hall, Closters
The Early Gothic Hall houses works from the thirteenth and fourteenth centuries. The three thirteenth-century limestone windows overlooking the Hudson River are filled with Gothic stained-glass panels from the cathedrals of Canterbury, Rouen, Soissons, and other sites. Also on view are French, Spanish, and Italian sculptures of the period, as well as an altarpiece depicting the Adoration of the Shepherds painted by the Sienese artist Bartolo di Fredi about 1374. [Notes from the Metropolitan Museum of Art]

Window with Grisaille Decoration
Date: ca. 1325
Geography: Made in Rouen, France Culture: French
Medium: Pot metal glass, colorless glass, silver stain, and vitreous paint
Dimensions: Overall: 28 1/4 x 23 1/2 in.
The Cloisters Collection

In this fourteenth-century panel, the vibrant color and robust lines of thirteenth-century stained glass were jettisoned in favor of colorless glass painted with leafy vines growing on a trellis. The three foliate designs, each of which is remarkable for its delicacy and refinement, are identifiable not only by their botanical species but also as patterns known to have originated at Saint-Ouen. The two lower panels display the periwinkle flower; the third panel represents the leaf of the strawberry plant; and the top two depict geranium foliage. The colored borders incorporate buttercup leaves with red and green quarries, and the center bosses are composed of whorls of artemisia leaves entwined with knotted ribbons of color. [Notes from the Metropolitan Museum of Art]

Detail of the top square panel of the grisaille, with stylized yellow periwinkles
The plant forms in this detail are too highly stylized to be botanically identified, with the exception of the grisaille flowering vine with silver stain blossoms. This may be tentatively identified as a species of periwinkle, either Vinca major or V. minor, but it is not a botanically accurate representation. Periwinkle flowers are blue, not yellow or gold, but form is more important in the identification of plants in medieval art than color. Even botanically recognizable plants are represented in color forms other than those found in nature. [Notes from the Metropolitan Museum of Art]

In ancient Rome, Pliny wrote in The Natural History of Pliny:
Sprigs of myrtle, if carried by a person when travelling on foot, are found to be very refreshing, on a long journey.

- The information plaque by the periwinkle bed in the Cloisters describes the flower as a medieval cancer treatment:
Annual periwinkles have been used for centuries for folk medicine, especially for treating diabetes, and are the source of several cancer drugs.
- And from this site, on the meaning of the flower's name:
The Latin name of periwinkle's genus, Vinca, is derived from a word meaning "to overcome."
- In Christian symbolism, the periwinkle represents Gentiles converted to Christ.

Such a small flower, with such a sturdy name!
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Posted By: Kidist P. Asrat
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Friday, April 26, 2013

Reclaiming Beauty: Winning Back Our Civilization



I did a brief search for book and web titles with Reclaiming Beauty. There are a handful, including a book with an essay contributed by Nikos Salingaros, titled: Reclaiming Beauty: Collected Essays in Political Anthropology Volume I - Series on Contemporary Mimetic Revival (I've posted an article by Nikos Salingaros from another source here).

To avoid confusion (apparently, having the same book title is not plagiarism, and wont result in legal actions - but who knows), I've decided to add a subtitle:

Reclaiming Beauty: Winning Back Our Civilization.

I can always reclaim (or attempt to reclaim) what has been taken away from me. But, that is an insignificant, solitary act, which I can repeat from a lonely forum on my single blog.

But, my aim is to make reclaiming beauty into a movement. As I wrote in my introduction:
This is a site which aims to reclaim beauty. It is a group effort, with the vision that it becomes a movement.
And why should a group of people join a movement unless we feel it affects us collectively?

The collective loss we will suffer if we don't act together to reclaim beauty is the loss of our civilization, our Western civilization.

Reclaiming beauty is not just an intellectual effort, but it is also an activist's endeavor. There are many activities I envision, such as: Setting up conferences for group discussions and meetings; Providing a forum for writers; Establishing definitions for words such as "beauty" and "reclaim"; Having a voice in political and cultural decisions that affect beauty in our environment (for example, objecting to the building of glass tower sky-scrapers in our neighborhoods); Providing guidelines for every-day beauty, such as dress, etiquette, language; Providing resources for people to learn about beauty's role in our civilization; Alerting people into the ways that beauty is being desecrated and maligned.

Therefore, the sub-title "Winning Back Our Civilization" is necessary.

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Posted By: Kidist P. Asrat
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Wednesday, April 24, 2013

Musical Interlude: Bei Mir Bistu Schein


Kate Smith



Stephanie Blythe



Ella Fitzgerald



Judy Garland



Benny Goodman Sextet with Martha Tilton



Andrews Sisters



Jacksons Variety Show



Everyone loves this song


About the song.


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Posted By: Kidist P. Asrat

Tuesday, April 23, 2013

View of Boston Common


[View larger image here]
View of Boston Common
Designed around 1750
Hannah Otis, 1732–1801
24 1/4 x 52 3/4 in
Wool, silk, metallic threads,
and beads on linen ground
predominately tent stitch

Rectangular canvas-work picture depicting a Georgian-style house with horse paddock; a church steeple and beacon in foreground; a figure on horseback and black servant in foreground; a male and female figure at left looking over a wall at a body of water; military-style building in background; trees, flowers, birds and animals throughout; original pine frame with gilt border and original glass.

Affluent girls were educated in the feminine arts of embroidery, painting on glass, and quillwork, as well as in reading and writing. After completing a sampler in their embroidery classes, girls worked pictures that proudly were hung in the family home. While the majority of the pastoral scenes depicted on Boston schoolgirl embroideries are based on European print sources, Otis's chimneypiece is a realistic depiction of Boston Common, with the beacon on Beacon Hill and the stone mansion, built in 1737 by merchant Thomas Hancock, clearly delineated.
Source: Museum of Fine Arts, Boston
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Posted By: Kidist P. Asrat

Toward Resilient Architectures: How Modernism Got Square

Toward Resilient Architectures 3: How Modernism Got Square
Michael W. Mehaffy and Nikos A. Salingaros.
MetropolisMag.com
Blog Point Of View
March 22, 2013

As we enter a transition era that demands far greater resilience and sustainability in our technological systems, we must ask tough new questions about existing approaches to architecture and settlement. Post-occupancy evaluations show that many new buildings, as well as retrofits of some older buildings, are performing substantially below minimal expectations. In some notable cases, the research results are frankly dismal [see "Toward Resilient Architectures 2: Why Green Often Isn’t"].

The trouble is that the existing system of settlement, developed in the oil-fueled industrial age, is beginning to appear fundamentally limited. And we’re recognizing that it’s not possible to solve our problems using the same typologies that created them in the first place. In a "far-from-equilibrium" world, as resilience theory suggests, we cannot rely on engineered, “bolt-on” approaches to these typologies, which are only likely to produce a cascade of unintended consequences. What we need is an inherent ability to handle "shocks to the system", of the kind we see routinely in biological systems.

In "Toward Resilient Architectures 1: Biology Lessons", we described several elements of such resilient structures, including redundant ("web-network") connectivity, approaches incorporating diversity, work distributed across many scales, and fine-grained adaptivity of design elements. We noted that many older structures also had exactly these qualities of resilient structures to a remarkable degree, and in evaluations they often perform surprisingly well today. Nevertheless during the last century, in the dawning age of industrial design, the desirable qualities resilient buildings offered were lost. What happened?


Figure 1. The fractal mathematics of nature bears a striking resemblance
to human ornament, as in this fractal generated by a finite subdivision rule.
This is not a coincidence: ornament may be what humans use as a kind of “glue”
to help weave our spaces together. It now appears that the removal of
ornament and pattern has far-reaching consequences for the capacity
of environmental structures to form coherent, resilient wholes.
Image: Brirush/Wikimedia.

A common narrative asserts that the world moved on to more practical and efficient ways of doing things, and older methods were quaint and un-modern. According to this narrative, the new architecture was the inevitable product of inexorable forces, the undeniable expression of an exciting industrial "spirit of the age". The new buildings would be streamlined, beautiful, and above all, "stylistically appropriate".

This was the thinking that gave birth to the modernist style and form language, still popular with architects today and part of a design movement that in various forms has dominated the world for a century. But such choices of style and type are not independent of how well our buildings perform on criteria of sustainability and resilience — a growing body of evidence is damning. So what does recent science tell us about the soundness of this approach to architecture?

Science forces us to conclude that the modernist view of environmental structure itself appears un-modern — and unsustainable. It rests upon now largely discredited theories of culture, technology, environmental geometry, and building form; theories that have never been properly re-assessed by their proponents.

Far from being an inevitable product of inexorable historical forces, the evidence reveals 20th century design to be developed as a series of rather peculiar (historically highly contingent) choices by a few influential individuals. The story goes back to a small group of German, Swiss, and Austrian architect-theorists, and at its seminal moment, the particular ideas of one of them regarding ornament — which turns out to have far-reaching implications.

Adolf Loos’ idea takes hold

In his famous essay of 1908, "Ornament and Crime", the Austrian writer/architect Adolf Loos presented an argument for the minimalist industrial aesthetic that has shaped modernism and neo-modernism ever since. Surprisingly, he built this argument upon a foundation that is accepted today by almost no one: the cultural superiority of "modern man" [sic], by which he meant Northern European males.

Loos proclaimed that, in this new era of streamlined modern production, we had apparently become unable to produce "authentic ornamental detail". But are we alone, he asked, unable to have our own style do what "any Negro" [sic], or any other race and period before us, could do? Of course not, he argued. We are more advanced, more "modern". Our style must be the very aesthetic paucity that comes with the streamlined goods of industrial production — a hallmark of advancement and superiority. In effect, our "ornament" would be the simple minimalist buildings and other artifacts themselves, celebrating the spirit of a great new age.

Indeed, the continued use of ornament was, for Loos, a "crime". The "Papuan", he argued, had not evolved to the moral and civilized circumstances of modern man [sic]. As part of his primitive practices, the Papuan tattooed himself. Likewise, Loos went on, "the modern man who tattoos himself is either a criminal or a degenerate". Therefore, he reasoned, those who still used ornament were on the same low level as criminals, and Papuans.


Figure 2. Ethiopian silver ceremonial cross, carried in liturgical processions,
represents a mathematically sophisticated fractal. Was Loos implying that
observers of such millennial religious practices the world over — dependent
as they are upon ornamented ritual, artifacts, chant, music, and dance —
are no better than "criminals"?
Drawing by Nikos Salingaros.

Built on an essentially racist worldview, Loos’ seminal essay codified a fateful series of four tenets that have seeped into design culture and remain largely unquestioned, even today:
1. Geometrical fundamentalism. The march of technological progress inevitably compels the elimination of detailed or ornamental features, and focuses on features that nakedly display (and celebrate) technological expediency and geometrical reduction.

2. Tectonic determinism. The geometric character of any addition to the built environment can only be a unique expression of its own specific technological moment in history (defined in stylistic terms, of course).

3. Typological prejudice. It follows that all previous architectural geometries of older eras are wholly inconsistent with modernity, and must be marked for elimination. Revival — a constant evolutionary fugue throughout the greatest civilizations — is now rejected, for the first time in history.

4. Modernist exceptionalism. Civilization has arrived at a fundamentally different and superior cultural status, elevated beyond previous historical constraints by its powerful technology. Architecture will serve this technology most appropriately by drawing from a limited form language derived from early 20th century production technology. No other form language is valid or "authentic".
What was this limited form language? It employed the repetitive production of standardized machine components, conceived in the most limited sense (eliminating complex artifacts, tools and utensils, and complex architectural components). It was an extreme strategy to exploit economies of scale and quantity to achieve efficiencies. Those industrial parts — blank flat sheets, razor-straight line cuts, simple unadorned squares, cubes, and cylinders — were standardized to allow for easy and low-cost assembly.


Figure 3. Some holes were evident in Adolf Loos’ theories,
even at the time they were written. On the left, mass-produced Art Nouveau
silver jewelry box by P. A. Coon, 1908. On the right, hand-made Machine Aesthetic
silver teapot by C. Dresser, 1879. The machine aesthetic was an artistic
metaphor of "modernity" chosen by Loos — not a true functional requirement.
Drawing by Nikos Salingaros.

Precisely because of its limitations, this form language made for dramatic, somewhat disquieting new shapes, readily suited to metaphoric use as the attention-getting expressions of a great new age. The raw, simple forms were well suited psychologically to the streamlined shapes of the breathtakingly fast-moving new vehicles like locomotives, aircraft, and ships. In turn, these reinforced the idea of streamlined buildings as a metaphoric style — although, of course, buildings do not actually move.

In an age enthralled with the promise of the future, this radically novel form language became unexpectedly popular and entirely displaced its contemporary competitors, many of which are largely forgotten today. Innovative architectural form languages that emerged included Jugendstil, Sezessionstil (Vienna Secession), Art Nouveau, Stile Liberty, Edwardian, and Art-and-Crafts as well as the early F. L. Wright. In fact, Loos was specifically attacking the relatively innovative forms of Art Nouveau — not the over-the-top rococo work of late Victorian designers, as some assume today.


Figure 4. "The cube ate the flower": how the machine aesthetic
devoured all other form languages, from "Architecture for Beginners"
by Louis Hellman, 1994.
Adapted and redrawn by Nikos Salingaros.

Corporate branding with science fiction

The clever use of machine parts production, through the early application of industrial technology, as a romantic new form language was not lost on Loos’ German contemporary Peter Behrens. Known now as "the father of corporate branding", Behrens recruited industrial minimalism as an aesthetic tool to create a streamlined marketing image to help his client AEG (Germany’s version of General Electric) sell its products. He created striking logos, stationery, advertisements — and buildings, which, in effect, were converted into giant billboards to help to sell the companies and their products.

In taking this momentous step, Behrens was masterfully solving a critical problem for environmental designers offering their services in a new age of standardization and mass production. If we were no longer going to generate the form of buildings in place, through localized craft-like processes, but must rely instead upon (supposedly superior, and certainly cheaper) combinations of standardized parts, then how were we, as designers, going to create aesthetically distinctive works? By "theming" them with an exciting stylized vision of the future to be created by industry (and specifically, by the client company, and by the currently-employed design firm).

So we would turn buildings and objects into canvases to "brand" our companies and our own talents as visionary designers, leading civilization into a thrilling new age. More than that, these packaged designs would have the special allure, in the skilled hands of Behrens and his artistically minded protégés, of a great new fine art. At its heart were industrial manufacturing and the commodification of products.

Working from the self-imposed limitations of this new aesthetic minimalism, the image that Behrens created was of power, industrial might, order, and cleanliness. Above all, it was the promise of a wonderful new technological future. His brilliant recognition paved the way for a dominant theme of modern marketing — one that can sell almost anything if it’s successfully linked to romantic imagery of the future. The allure of such a product is, by definition, beyond any claim that can be evaluated in the present. It is the selling of hope, dream, and desire — even if it is one that’s destined to quickly tarnish and be discarded. Indeed all the better, for planned obsolescence means another "new, improved" product can be sold in its place.

The seductive power of this futuristic message was not lost on Behrens’ young protégés, each going on to have a profound effect on 20th century design. Their names, Walter Gropius; Charles-Édouard Jeanneret-Gris (later known as Le Corbusier); and Ludwig Mies van der Rohe, are familiar to architects. In fact, architectural students are required to study and copy them in school. In the next decades they would announce their "total architecture" (Gropius) that signaled a "great epoch of industrial production" (Le Corbusier) and "the will of an epoch" that "less is more" (Mies). In the words of their most important theorist and propagandist, Sigfried Giedion, "mechanization takes command". Our buildings must reflect the unavoidable reality of our modern world.

This was not merely a stylistic prescription that one might (or might not) find visually pleasing. It was a complete blueprint for remaking the world according to specific concepts of scale, standardization, replication, and segregation; all codified within a form of visual culture. It became (especially through CIAM, the modernists’ profoundly influential international group) the template for the urbanization and suburbanization that took place rapidly in the U.S. and globally after World War II, and that still continues at an astonishing pace in China, India, Brazil, and elsewhere. The structure of this urbanization has profound consequences, for better or worse, for the use of resources and other critical issues of our age.

From today’s scientific perspective that structure has attributes that ought to provoke deep concern, if not outright alarm. As the urbanist Jane Jacobs famously pointed out a half-century later, the modernist approach did not reflect an understanding of the "organized complexity" of natural and biological systems that underlies human biology, human life, and cities inhabited by human beings. It reflected instead an outmoded and unfounded but totalizing theory of the nature of cities, of technology, and of geometry itself.


Figure 5. The form language of nature is not mechanical
in the "modern" sense. The only known exception:
Donald Duck discovers square eggs,
from "Lost in the Andes" by Carl Barks, 1948.
Redrawn by Nikos Salingaros.

More recent scientific investigations reveal the richly complex geometry of living environments — including human ones. The geometries of those natural structures "evolve in context" as complex adaptive forms, through a process known as "adaptive morphogenesis". As a result of that process, living geometries have particular characteristics. They differentiate into a range of subtly unique structures, and they adapt to local conditions, giving such environments stability and resilience. They achieve great complexity and efficiency through their evolution — and great beauty, in the form of a perceivable deeper order.

A new view of the nature of environmental structure, aesthetics, and ornament

Key to resilience is the way different parts of geometry lock together into larger functional (but not rigid) wholes. In the most ecologically resilient structures, they do this by forming symmetries across inter-linked scales. The resulting structure has the hallmarks of adaptive, evolutionary self-organization: redundant ("web-network") relationships, diversity of mechanisms and components, innate ability to transfer information among many different scales, and fine-grained adaptivity of design elements.

There is also evidence from neuroscience and other fields that the aesthetic experience of such structures is not a superficial "psychological" aspect, but rather, a kind of cognitive "gateway" allowing us to experience and react to this deeper order of our environment. The artistic dimension lies in the way this gateway is shaped, and in its resonance with other emotional experiences in life. Creative abstractions are added to — but do not replace — the natural complexity of our world. As conscientious artists working to improve the human environment, our role is to enhance, express, and clarify that complex adaptive order. Certainly, it’s not merely to apply a veneer of visually dramatic gimmicks.

In this picture of things, ornament is far from mere decoration. It is a precise category of articulation of the connections between regions of space by the human beings that design them. It can be thought of as an essential kind of "glue" that allows different parts of the environment to echo and connect to one another, in a cognitive sense and even in a deeper functional sense. Ornament, then, is an important tool to form a complex fabric of coherent symmetrical relationships within the human environment.


Figure 6. Is this ornamental embroidery?
Actually, a fractal antenna which, when miniaturized,
makes cell phone reception possible. There is an important
role here for functionalism, understood in a much deeper sense.
Drawing by Nikos Salingaros.

We are beginning to understand that the industrial form language represented a catastrophic loss of this adaptive structural capacity, bringing with it enormous negative consequences for the environment we inhabit. It deprived us of the thought processes necessary to conceptualize the characteristics of resilient environmental structure — web-network relationships, diversity, linking of scales, and fine-grained adaptivity. As one functional example, a certain kind of cell-phone antenna incorporating ornament-like fractal patterns (see above) offers the best performance for its tiny size but cannot be conceptualized within a minimalist form language.

The big re-think

We are now beginning to see a pattern in the momentous changes to industrial civilization of the last century. The excessive reliance on standardization and commodification, the birth of a consumer society dominated by branding and theming, the rapacious and unsustainable consumption of resources as an addictive economic fuel are intimately related to the non-resilience of the form languages that were handed down to us. The products of that related group of form languages are a failing industrial civilization’s "art supply".

True resilience does not result from artistic metaphors, or by sticking veneers over the same failing industrial model.

Biological resilience and sustainability require the capacity to endure, to adapt, and to maintain a dynamic stability in the face of sometimes-chaotic environments. They require the cognitive flexibility that enables the genesis of technological innovations. We will have to think outside the modernist box to find new forms — and new uses for very old forms, just as natural evolution does. It seems clearer than ever that the survival of our planet depends upon it.

Yet we are the heirs of Loos’ erroneous and limiting ideas about geometrical fundamentalism, tectonic determinism, the exceptionalism of modernism, and the typological prejudice rooted in an illusory aesthetic functionalism. All of these dogmas are enforced by self-perpetuating elite privileges, and the proprietary commodification of design as a fashion and brand. Even now, a reactionary old guard, wearing frayed progressive trappings, condemns virtually any use of ornament, pattern, or precedent as reactionary, uncreative, and lacking in imagination.

But in an age that demands new thinking, perhaps it is that attitude itself that betrays the ultimate lack of imagination.

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Michael Mehaffy is an urbanist and critical thinker in complexity and the built environment. He is a practicing planner and builder, and is known for his many projects as well as his writings. He has been a close associate of the architect and software pioneer Christopher Alexander. He is a Research Associate with the Center for Environmental Structure, Alexander’s research center founded in 1967, and Executive Director of the Sustasis Foundation, a Portland, OR-based NGO dedicated to developing and applying neighborhood-scale tools for resilient and sustainable development.

Nikos A. Salingaros is a mathematician and polymath known for his work on urban theory, architectural theory, complexity theory, and design philosophy. He has been a close collaborator of the architect and computer software pioneer Christopher Alexander. Salingaros published substantive research on Algebras, Mathematical Physics, Electromagnetic Fields, and Thermonuclear Fusion before turning his attention to Architecture and Urbanism. He still is Professor of Mathematics at the University of Texas at San Antonio and is also on the Architecture faculties of universities in Italy, Mexico, and The Netherlands.

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Posted By: Kidist P. Asrat