[ by Charles Cameron — a quarter century of chyron and metaphor posts — Booker, 81 at Stanford, is now a legit sports metaphor for politics — finishing up with Beto and the Cult of the Dead Cow !! ]
Ari Melber, the Beat 3/18/2019:
My notes on what happened which day are seriously confused at this point. I hope I can go back and rescue a chyron “Trumped” from the very start of this show, ami I right?
he sits at the center of a crime syndicate ..
John Flannery: to pin the tail on the donkey, the [ .. ] in the West Wing ..
just another example of his moral vandalism ..
What is it about John McCan that sets him off? John McCain was everything Donald Trump isn’t. John McCain wasa man ofn integrity and a man of great courage.
My father waas his kryptonite in life, and is his kryptonite in death..
We now need, more than ever after this President, more than ever we need a revival of grace in our country, a revival of civic grace in our civic spaces..
I suppose this image is now a sports metaphor for politics
I got into Stanford because of a 4.0, 1600 — 4.0 yards per carry, 1,600 receiving yards..
at 27, not on my download to verify: I see this as whiffle-ball ..
at 38/9, sonny liston vs muhammad ali
40, we want to see some white smoke, some hope
40, the goose-eggs add up
59 steve king?
Uncertain sources &c:
The house is just going to be a bear-pit ..
kasie:it’s a home game for him, not an away game
does he have what it takes to go the distance ..
i wasn’t born to run, but i am running ..
we are not trying to hide the ball here at all ..
Three that I may have posted before, forgive me:
And saving the best [??!!] for last:
As “PsychedelicWarlord,” O’Rourke spent most of his time posting thought-provoking essays, song lyrics from punk albums, and the occasional poem. At one point, he and another member interviewed a neo-Nazi. And in one post, he gave “The True Story of Cult of the Dead Cow,” in which he claimed authorship of the name..
[ by Charles Cameron — that same history-making day of congressional testimony from michael cohen— part 2 of 2 ]
Steve Kornacki: .. dramatic split-screen when we return
Steve Kornacki: The unbelievable political theater from one Republican on the committee defending the president ..
Noah Rothman: I think in a lot of ways he’s trying to ingrate himself with the anti-Trump left, and he’s been singing the sermons of the Resistance to the hilt ..
42 Tulsi Gabbard: Kim saw what happened in Libya, he saw how we promised Libya’s dictator Gaddafi that if he gave up his nuclear weapons program, that we would not over that throw him. Well, he gave up those weapons, he gavee up that program and we blew him away. And so Kim’s not going to make this mistake..
Jackie Speier: I think we’re getting closer and closer to being able to put all those puzzle pieces together and have a pretty profound picture to show the American people ..
All In, Chris Hayes:
14 Chris H: It’s a Chinese finger-art type of situation
Cohen: You don’t know him. I do. I sat next to this man for ten years and I watched his back ..
Rick Wilson: It’s the “my black friend” theory, it was cringe-inducing ..
It’s high school drama class ..
Danielle Moodie-Mills: The proximity to power and money — it’s an incredible aphrodisiac, and that’s what we saw today, that’s what Michael Cohen said, don’t be like me ..
Rick Wilson: You know who doesn’t give a damn about high school drama? Southern District of New York, Robert Mueller. The facts that Cohen’s revealing today today are going to be remembered, and known and litigated long after this playtime is over ..
[ 56 visual split screen ]
he doesn’t give you questions, he doesn’t give you orders, he speaks in a code ..
Hayes 58: he doesn’t tell you something,
This is a feast-day for the news gods ..
And that’s it for yesterday, the 27th February, 2019
[ by Charles Cameron — we only got to see one in three of cohen’s days before congressional committees — but what a history-making day — part 1 of 2 ]
Shocked barely causes a ripple these days. Earth-shattering, on the other hand, is about as strong a term as any I’ve chronicled here, as in a different register is flabbergasted.
As a source told Emily Jane Fox,
Some things that are earth-shattering are right in front of your nose, and the reason you don’t know that they’re earth-shattering is because they’re right in front of you
That was yesterday. Today, Michael Cohen testified for seven hours before the House Oversight Committee.
Meet the Press:
16: I lived in the inner city of Baltimore, and when yoiu call somebody a ratthat’s one of the worst things you can call them, because when you go to prison, rat means a snitch ..
19: And hopefully, this part of your destiny will lead to a better Michael Cohen, a better Donald Trump, a better United States of America, and a better world, and I mean that from the depth of my heart. When we’re dancing with the angels, the question will be asked, in 2019 what did we do to make sure to keep our democracy intact..
We have got to get back to normal ..
This was akso a very human day ..
**** amash clip[ 32-33 ****
Chuck: You don’t say it, you say it ..
34 Ben Wittes: the direction without direction .. for Michael Cohen, when to lie ..
39 Cummings: we have strayed so far from normal ..
44/5 these were my exact words: I’ll nail you to the cross ..
55 [ Sam Nunberg re Matthew Calamari ] he was a security guard and was beating somebody up and Trump hired him, saw him at the US Open ..
Carol Leonnig: eccentricities of accounting ..
Ari Melber, the Beat:
[ 59 chyron: Cohen checks .. ]
Cohen: I did the same thing that you’re doing now, for ten years. I protected Mr Trump for ten years. I can only warn people the more people that follow Mr Trump as I did, blindly, are going to suffer the same consequences that I am suffering ..
Maya Wiley: his points about Donald Trump’s wink, wink, nod, nod, in terms of the Trump Moscow Tower ..
Ari; The most ominous thing for Trump has apparently been playing out in plain sight, in public, with this new chapter today that is legally gigantic even though it might have been understandably overshadowed at times by other fireworks and passion, scandal and drama and intrigue in that hearing ..
Maya Wiley: How can you save a client who’s not telling the truth? You can’t. I thought we were going to go old school, Houdini? A friend?
Flannery: This whole gang of Pinocchios can’t be trusted to tell us anything that’s truthful. I do credit the performance, if you will, by Cohen today for giving the sense of being a man who is eating ashes and as close to being transparent as he could possibly be, perhaps in his entire life ..
I am going to break here, after Ari Melber‘s The Beat and before Chris Matthews‘ Hardball, because this is enough for one bite of an exceedingly rich day.
The human voice is the world’s most astonishing instrument, it’s often said. It’s capable of everything from a trill to a bark to an ear-splitting scream, from growling harmonics to liquid acrobatics, lofted on the breath like a lark on an updraft. Instrument is the wrong word, really. The voice is more like a chamber ensemble: winds and strings and blaring horns, strung together end to end. It’s a pump organ, a viola, an oboe, and the bell of a trumpet, each instrument passing the sound along to the next, adding volume and overtones at every step. Throw in the percussion of the lips and tongue, and the echoing amphitheatre of the skull, and you have a full orchestra playing inside you.
My aim in this post is to add that “full orchestra playing inside you” to that other internal polyphony of contrasting desires, identities, and emergent thoughts, and the external polyphony of all those voices with a stake in our common concerns, risk assessments and deliberations — which are constituent of our complex analytic topics.
The rest is context…
I’ve often talked about the notion that the analysis of complex human systems involves dealing with multiple stakeholder voices, also on occasion with the many internal voices within each individual, and suggested that music offers the clearest equivalent or analogy that humans successfully and repeatedly navigate. Specifically, the twin notions of polyphony — the sounding together of many voices — and more specifically counterpoint — the juxtaposition of conflicting voices and the possible resolution of their conflicts from dissonance to harmony in an iterative process — are clearly relevant to analytic practice, albeit drawing on a tradition that will seem wildly cross-disciplinary to many analysts.
Relevant here is Edward Said‘s definition of counterpoint:
In counterpoint a melody is always in the process of being repeated by one or another voice: the result is horizontal, rather than vertical, music. Any series of notes is thus capable of an infinite set of transformations, as the series (or melody or subject) is taken up first by one voice then by another, the voices always continuing to sound against, as well as with, all the others. Instead of the melody at the top being supported by a thicker harmonic mass beneath (as in largely vertical nineteenth century music), Bach’s contrapuntal music is regularly composed of several equal lines, sinuously interwoven, working themselves out according to stringent rules
In my view , which I have repeatedly expressed, Johann Sebastian Bach, the master of contrapuntal writing, is a significant exemplar for us at this time. And if it should be argued that musical methods cannot be transposed — another musical term — to matters of verbal thought, let me say that the great Bach pianist Glenn Gould towards the end of his life made specifically contrapuntal human voice radio plays for the Canadian Broadcasting Company..
the way he liked to have one AM and one FM station playing all the time in his apartment, one for news, the other for music; the way he could learn a score while talking on the phone; and the way he enjoyed eavesdropping on three or four conversations at the same time going on at neighbouring tables in the restaurants he haunted (Kostelanetz 1983: 127).
We can see here that Gould‘s basic thinking is in terms of multiple voices, often contrasting, in simultaneous awareness — Gould, Howes continues, spoke of counterpoint as “an explosion of simultaneous ideas”. As Gould puts it, Howes reports, when speaking of his radio programs for human voices:
The basis of it was that we tried to have situations arise cogently from within the framework of the program in which the two or three voices … [recorded previously in conversation with Gould, but with the latter’s voice edited out for the final version] … could be overlapped, in which they would be heard talking – simultaneously, but from different points of view – about the same subject. We also tried to treat these voices as though they belonged to characters in a play, though all the material was gained from interviews. It was documentary material, treated in a sense as drama (cited in Payzant 1982: 131).
This, then, is Gould‘s contrapuntal radio, and we can see Gould vividly transposing conytrapuntal imagination from the musical sphere to that of the varieties of human verbalization.
As not an aside but the re-introduction of a theme previously only hinted at, here is Arthur Koestler on the conceptual or creative leap:
A musical understanding of North requires re-thinking some traditional elements of music theory: harmony must take into consideration semantic content and shifting topic areas; form follows somewhat traditional musical structures (ternary, binary, etc.); and texture encompasses layering of literal voices and dispenses with traditional notions of melody. One must also consider the spatial component of tape composition, in which voices inhabit locations in a sound field. The later documentaries in the trilogy and the Leopold Stokowski and Pablo Casals tribute radio documentaries contribute to a more complete musical concept of contrapuntal radio — complex polyphonic textures, stereo sound, pitch-based harmonic content — the germ of contrapuntal radio was developed and actualized in North.
I’d like to take that lead, given us by the masterful pianist Glenn Gould, across into the field of analytic understanding — as a stream of analysis complementary and in counterpoint (for instance) to “big data” analytic tools — contrapuntal analysis characteristically working with a few, humanly-selected verbal utterances rather than data-points algorithmically-selected in the millions.
When you think about it, when you think about Jew and Palestinian not separately, but as part of a symphony, there is something magnificently imposing about it. A very rich, also very tragic, also in many ways desperate history of extremes – opposites in the Hegelian sense – that is yet to receive its due. So what you are faced with is a kind of sublime grandeur of a series of tragedies, of losses, of sacrifices, of pain that would take the brain of a Bach to figure out. It would require the imagination of someone like Edmund Burke to fathom.
We see here the invocation of Bach in a context of geopolitical analysis — one paragraph in the life-work of Said, who was a music critic as well as a well-known Palestinian-American public intellectual.
That single paragraph — and Gould‘s clear understanding that contrapuntal thinking can be applied to the polyphony of human voices, not just in the musical sphere — prompts me to go further, and assert that complexity studies with application to the human condition and intelligence and geopolitical analysis will all, sooner or later, arrive at the practice of contrapuntal thinking as basic to their deeper purposes.
Refocusing at the national level, on Glenn Gould‘s native Canada:
I’ve mentioned the simultaneity of voices in social contexts such as listening, hearing and understanding the views and voices of multiple stakeholder. In similar vein, Howes suggests Gould‘s own taste for counterpoint stems from and reflects the Canadian Constitution:
Gould understood music to provide a model of society, and the performing artist, hence, to be performing society, as well as music. Along these lines, counterpoint, Gould’s preferred musical style, provides a specially apt model for comprehending the constitutional structure of the Canadian state. Gould’s interest in keeping the different voices of a fugue distinct, equal, and bound together parallels the concern of the Canadian state to keep the different parties to Confederation distinct, equal and bound together. In this difficult task, however, there is always a risk of overemphasizing or losing one of the voices. If Quebec is proclaimed “a distinct society” will that disturb the equality of the provinces (for surely all are distinct); if it is not, will that lead to the separation of Quebec and the break-up of Confederation? This bi-cultural counterpoint confronts Canadians daily, from the bilingual product information on their cereal boxes to the reports of English/French political jousting on the evening news.
Counterpoint, or in more general terms, polyphony, is non-dialectical, for it involves the interweaving of voices, of ideas, rather than the Hegelian process of thesis-antithesis-synthesis. Polyphony as social theory does not, therefore, entail the negation of any countervailing views the way, say, a dialectical social philosophy would. With polyphony, accommodation or peaceful co-presence takes the place of negation.
[ by Charles Cameron — music, mildness and massacres — do we have a scalpel that can peel the mildness back to explain where the massacres come from? ]
Lenin listens, muses:
From the Russian film, Appassionate, Here’s Lenin listening and, towards the end, musing, to the music:
Vladimir Lenin asks Rudolf Kehrer to play Beethoven’s Appassionata, Piano Sonata no. 23, op. 57, and at the end says, ‘Nothing I know is better than the Appassionata’. … The footage comes from this rare film entitled Appassionata:
Here’s the full Lenin quote:
I know of nothing better than the Appassionata and could listen to it every day. What astonishing, superhuman music! It always makes me proud, perhaps with a childish naiveté, to think that people can work such miracles! … But I can’t listen to music very often, it affects my nerves. I want to say sweet, silly things, and pat the little heads of people who, living in a filthy hell, can create such beauty. These days, one can’t pat anyone on the head nowadays, they might bite your hand off. Hence, you have to beat people’s little heads, beat mercilessly, although ideally we are against doing any violence to people. Hm — what a devilishly difficult job!
Some people already know this quote, some don’t.
Here, Lang Lang plays Beethoven’s Appassionata in its colossal entirety:
Mildness and massacres.
Hitler, who began as an art student, liked Wagner; Lenin liked Beethoven. Shall we blame classical music for the Shoah and Gulags?
Somehow, if we could peel back the mildness, we might find the massacres. Does anyone have a suitable psychiatric or spiritual scalpel?
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