All cultural commentary that purports to find deep meaning in popular culture needs to begin with the null hypothesis: the possibility that what we are watching is in the end mere entertainment, or worse. Brant Hansen makes a succinct case for dispensing with critique and going straight to condemnation of the movie du jour. My gut tells me he's right.

condemnation, gestures and postures, movies, pop culture

Andy

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At one level, this movie is a bunch of violent, purposeless noise.

But there is a second deeper level.  At that level, “The Dark Knight” is a discourse on the nature of evil.

And then . . . there is a third, still deeper, final level. 

At that final level, this movie is a bunch of violent, purposeless noise. . . .

“The Dark Knight” is cultural rigor mortis.  It’s what happens when we are done, and we are done.  Jacques Barzun had it right, when he wrote a history of western culture up through the 1990s, and said, certainly, that our age is defined by boredom.  We are excited by nothing, really, but maybe for a moment here, or a moment there, we can try to be turned on.  Sex can do it (or fake sex, much more likely) but brutal violence can work, too, if for a short time.

Two comments on this important article from the Journal. First, when my children and grandchildren are seeking the way to radical discipleship and racial reconciliation (as I hope they will be), they will be moving to the inner-ring suburbs, not to the "inner cities," many of which are well on their way to becoming islands of affluence. Second, this article is unfortunately stuck in a "black–white" model of ethnicity in which whites are the majority and blacks stand in for "minorities." Very soon we white people will be a plurality, not a majority, in America. Even the best journalism has yet to catch up with this reality.

cities, ethnicity, neighborhoods, race, trends, unintended consequences

Andy

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Today, cities are refashioning themselves as trendy centers devoid of suburban ills like strip malls and long commutes. In Atlanta, which has among the longest commute times of any U.S. city, the white population rose by 26,000 between 2000 and 2006, while the black population decreased by 8,900. Overall the white proportion has increased to 35% in 2006 from 31% in 2000.

In other cities, whites are still leaving, but more blacks are moving out. Boston lost about 6,000 black residents between 2000 and 2006, but only about 3,000 whites. In 2006, whites accounted for 50.2% of the city’s population, up from 49.5% in 2000. That’s the first increase in roughly a century.

From the often dense but often informative weblog The Immanent Frame, a good rejoinder to David Brooks's claim that cognitive science is changing the way we see religion. I found Brooks's argument slippery (not to say fishy) at the time, and Justin Barrett helps to explain why.

psychology, social sciences

Andy

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In his column, Brooks suggests that the “cognitive revolution” in the study of religion will likely encourage belief systems that focus on “self-transcendence” but discourage “the idea of a personal God.”  The more genuinely cognitive trend in contemporary science of religion does not directly bear upon whether one should hold any given religious beliefs, but if it offers any clues as to which religious beliefs are likely to remain resilient in the future, it suggests that belief in personal gods aren’t going anywhere soon.  A common refrain in CSR is the naturalness of belief in supernatural agents or gods.  In his review of the cognitive and evolutionary studies of religion, anthropologist Scott Atran writes: “Supernatural agency is the most culturally recurrent, cognitively relevant, and evolutionarily compelling concept in religion. The concept of the supernatural is culturally derived from an innate cognitive schema.”

Hancock is a hit with a black star . . . but does it do anything to move the horizons of how we see black stars?

horizons of the possible, movies, race

Andy

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Smith’s rules for how to be a global black superstar, then?

1.  Keep it easy and breezy. Heroes must work for the good of the white folks (especially families and romantic pairings) in the movie, often to their own detriment.

2.  Don’t risk putting off the white folks/foreigners in the audience with an excess of what pundit John McWhorter might derisively describe as “a surfeit of explicitly black presentation.” (Unless, like Denzel in Training Day, you are playing a degraded, corrupt cop; then you get an Oscar.)

3.  Do not—EVER—make a movie whose subject matter treats or concerns the facts of black life in America in an accurate or illuminated way, this even when said facts are somehow encoded or embedded in the conventions of genre or some other filmmaking trick.

I've yet to convert fully to the texting lifestyle (mostly due to cost and thumb dexterity) but I agree that it's an opportunity for linguistic innovation rather than destruction. You have to know the norms to be able to creatively flaunt them.

cell phones, communication, language, technology

Nate

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But the need to save time and energy is by no means the whole story of texting. When we look at some texts, they are linguistically quite complex. There are an extraordinary number of ways in which people play with language - creating riddles, solving crosswords, playing Scrabble, inventing new words. Professional writers do the same - providing catchy copy for advertising slogans, thinking up puns in newspaper headlines, and writing poems, novels and plays. Children quickly learn that one of the most enjoyable things you can do with language is to play with its sounds, words, grammar - and spelling.

The drive to be playful is there when we text, and it is hugely powerful. Within two or three years of the arrival of texting, it developed a ludic dimension. In short, it’s fun.

Real artists ship, dam it!

animals, horizons of the possible, humor, real artists ship, technology

Nate

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Messner has already overthought and razed two dams this season alone. He dismissed the proportions of the first as “aesthetically dysfunctional,” and the second was built out of cottonwood, which he called “a mistake.” But, according to Messner, the latter experience got him thinking about different woods in ways he had never considered.

“What woods are the sturdiest, or the most visually pleasing?” Messner said. “What does a birch dam say? Everyone seems to love sugar maple, but it’s such an overfamiliar scrub tree. Would I be making a stronger statement with willow? I don’t want this to be one of those generic McDams.”

“What do I have to say—as a beaver and as an artist?” he added.

After much thought, Messner decided to reconstruct the anterior section of the dam with poplar wood on Tuesday, after he finished “highly necessary” preparatory work chewing the branches into uniform-sized interlocking sticks. Yet such tasks struck fellow lodge members as excessive.

“Get to work, get to work, build the dam, build the dam,” Cyril Kyree said as he dragged a number of logs into the shallow lick of river where the rest of the lodge has built their nests. “Chew-chew-chew. Need a mate. Build the dam.”

A bit of why one of my favorite books is, well, one of my favorite books.

asia, awards, india, salman rushdie, story, writing

Nate

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As things stand, though, it’s not easy to see anything beating the far more famous Indian novel on the list - which might be more of an injustice if Midnight’s Children (1981) by Salman Rushdie weren’t also the best book of the lot. Nearly 30 years - and at least three more classic Rushdies - later, Midnight’s Children should, in theory, have lost its power to astonish. In practice, rereading it instantly returned me to that original state of awed disbelief that so much exhilarating stuff can be packed into a single novel. (Rushdie, you feel, could have knocked off the entire plot of Oscar and Lucinda in one chapter here.) At times, the unstoppable commitment to storytelling seems almost pathological. Yet, in the end, the book is so thrilling that wishing Rushdie had trimmed it into something less wild would be as futile as asking a hurricane to tone it down a bit.