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arcticdementor · 4 years

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Something strange happened to the news over the past four years. The dominant stories all resembled the scripts of bad movies—sequels and reboots. The Kavanaugh hearings were a sequel to the Clarence Thomas hearings, and Russian collusion was rebooted as Ukrainian impeachment. Journalists are supposed to hunt for good scoops, but in January, as the coronavirus spread, they focused on the impeachment reality show instead of a real story.

It’s not just journalists. The so-called second golden era of television was a decade ago, and many of those shows relied on cliff-hangers and gratuitous nudity to hold audience attention. Across TV, movies, and novels it is increasingly difficult to find a compelling story that doesn’t rely on gimmicks. Even foundational stories like liberalism, equality, and meritocracy are failing; the resulting woke phenomenon is the greatest shark jump in history.

Storytelling is central to any civilization, so its sudden failure across society should set off alarm bells. Culture inevitably reflects the selection process that sorts people into the upper class, and today’s insipid stories suggest a profound failure of this sorting mechanism.

…

Culture is larger than pop culture, or even just art. It encompasses class, architecture, cuisine, education, manners, philosophy, politics, religion, and more. T. S. Eliot charted the vastness of this word in his Notes towards the Definition of Culture, and he warned that technocratic rule narrowed our view of culture. Eliot insisted that it’s impossible to easily define such a broad concept, yet smack in the middle of the book he slips in a succinct explanation: “Culture may even be described simply as that which makes life worth living.” This highlights why the increase in “deaths of despair” is such a strong condemnation of our dysfunction. In a fundamental way, our culture only exists to serve a certain class. Eliot predicted this when he critiqued elites selected through education: “Any educational system aiming at a complete adjustment between education and society will tend to restrict education to what will lead to success in the world, and to restrict success in the world to those persons who have been good pupils of the system.”

This professional managerial class has a distinct culture that often sets the tone for all of American culture. It may be possible to separate the professional managerial class from the ruling elite, or plutocracy, but there is no cultural distinction. Any commentary on an entire class will stumble in the way all generalizations stumble, yet this culture is most distinct at the highest tiers, and the fuzzy edges often emulate those on the top. At its broadest, these are college-educated, white-collar workers whose income comes from labor, who are huddled in America’s cities, and who rise to power through existing bureaucracies. Bureaucracies, whether corporate or government, are systems that reward specific traits, and so the culture of this class coalesces towards an archetype: the striving bureaucrat, whose values are defined by the skills needed to maneuver through a bureaucracy. And from the very beginning, the striving bureaucrat succeeds precisely by disregarding good storytelling.

…

Professionals today would never self-identify as bureaucrats. Product managers at Google might have sleeve tattoos or purple hair. They might describe themselves as “creators” or “creatives.” They might characterize their hobbies as entrepreneurial “side hustles.” But their actual day-in, day-out work involves the coordination of various teams and resources across a large organization based on established administrative procedures. That’s a bureaucrat. The entire professional culture is almost an attempt to invert the connotations and expectations of the word—which is what underlies this class’s tension with storytelling. Conformity is draped in the dead symbols of a prior generation’s counterculture.

…

When high school students read novels, they are asked to identify the theme, or moral, of a story. This teaches them to view texts through an instrumental lens. Novelist Robert Olen Butler wrote that we treat artists like idiot savants who “really want to say abstract, theoretical, philosophical things, but somehow they can’t quite make themselves do it.” The purpose of a story becomes the process of translating it into ideas or analysis. This is instrumental reading. F. Scott Fitzgerald spent years meticulously outlining and structuring numerous rewrites of The Great Gatsby, but every year high school students reduce the book to a bumper sticker on the American dream. A story is an experience in and of itself. When you abstract a message, you lose part of that experience. Analysis is not inherently bad; it’s just an ancillary mode that should not define the reader’s disposition.

Propaganda is ubiquitous because we’ve been taught to view it as the final purpose of art. Instrumental reading also causes people to assume overly abstract or obscure works are inherently profound. When the reader’s job is to decode meaning, then the storyteller is judged by the difficulty of that process. It’s a novel about a corn beef sandwich who sings the Book of Malachi. Ah yes, a profound critique of late capitalism. An artist! Overall, instrumental reading teaches striving students to disregard stories. Cut to the chase, and give us the message. Diversity is our strength? Got it. Throw the book out. This reductionist view perhaps makes it difficult for people to see how incoherent the higher education experience has become.

…

“Decadence” sounds incorrect since the word elicits extravagant and glamorous vices, while we have Lizzo—an obese antifertility priestess for affluent women. All our decadence becomes boring, cringe-inducing, and filled with HR-approved jargon. “For my Fulbright, I studied conflict resolution in nonmonogamous throuples.” Campus dynamics may partially explain this phenomenon. Camille Paglia has argued that many of the brightest left-wing thinkers in the 1960s fried their brains with too much LSD, and this created an opportunity for the rise of corporate academics who never participated in the ’60s but used its values to signal status. What if this dropout process repeats every generation?

…

The professional class tells a variety of genre stories about their jobs: TED Talker, “entrepreneur,” “innovator,” “doing well by doing good.” One of the most popular today is corporate feminism. This familiar story is about a young woman who lands a prestigious job in Manhattan, where she guns for the corner office while also fulfilling her trendy Sex and the City dreams. Her day-in, day-out life is blessed by the mothers and grandmothers who fought for equality—with the ghost of Susan B. Anthony lingering Mufasa-like over America’s cubicles. Yet, like other corporate genre stories, girl-boss feminism is a celebration of bureaucratic life, including its hierarchy. Isn’t that weird?

There are few positive literary representations of life in corporate America. The common story holds that bureaucratic life is soul-crushing. At its worst, this indulges in a pedestrian Romanticism where reality is measured against a daydream, and, as Irving Babbitt warned, “in comparison . . . actual life seems a hard and cramping routine.” Drudgery is constitutive of the human condition. Yet even while admitting that toil is inescapable, it is still obvious that most white-collar work today is particularly bleak and meaningless. Office life increasingly resembles a mental factory line. The podcast is just talk radio for white-collar workers, and its popularity is evidence of how mind-numbing work has become for most.

Forty years ago, Christopher Lasch wrote that “modern industry condemns people to jobs that insult their intelligence,” and today employers rub this insult in workers’ faces with a hideously infantilizing work culture that turns the office into a permanent kindergarten classroom. Blue-chip companies reward their employees with balloons, stuffed animals, and gold stars, and an exposé detailing the stringent communication rules of the luxury brand Away Luggage revealed how many start-ups are just “live, laugh, love” sweatshops. This humiliating culture dominates America’s companies because few engage in truly productive or necessary work. Professional genre fiction, such as corporate feminism, is thus often told as a way to cope with the underwhelming reality of working a job that doesn’t contribute anything to the world.

There is another way to tell the story of the young career woman, however. Her commute includes inspiring podcasts about Ugandan entrepreneurs, but also a subway stranger breathing an egg sandwich into her face. Her job title is “Senior Analyst—Global Trends,” but her job is just copying and pasting between spreadsheets for ten hours. Despite all the “doing well by doing good” seminars, the closest thing she knows to a community is spin class, where a hundred similar women, and one intense man in sports goggles, listen to a spaz scream Hallmark card affirmations.

…

The bureaucrat even describes the process of rising through fraudulence as “playing the game.” The book The Organization Man criticized professionals in the 1950s for confusing their own interests with those of their employers, imagining, for example, that moving across the country was good for them simply because they were transferred. “Playing the game” is almost like an overlay on top of this attitude. The idea is that personal ambition puts the bureaucrat in charge. Bureaucrats always feel that they are “in on the game,” and so develop a false sense of certainty about the world, which sorts them into two groups: the cynics and the neurotics. Cynics recognize the nonsense, but think it’s necessary for power. The neurotics, by contrast, are earnest go-getters who confuse the nonsense with actual work. They begin to feel like they’re the only ones faking it and become so insecure they have to binge-watch TED Talks on “imposter syndrome.”

These two dispositions help explain why journalists focus on things like impeachment rather than medical supply chains. One group cynically condescends to American intelligence, while neurotics shriek about the “norms of our democracy.” Both are undergirded by a false certainty about what’s possible. Professional elites vastly overestimate their own intelligence in comparison with the average American, and today there is nothing so common as being an elitist. Meanwhile, public discourse gets dumber and dumber as elitists spend all their time explaining hastily memorized Wikipedia entries to those they deem rubes.

…

The entire phenomenon of the nonconformist bureaucrat can be seen as genre inversion. Everyone today grew up with pop culture stories about evil corporations and corporate America’s soul-sucking culture, and so the “creatives” have fashioned a self-image defined against this genre. These stories have been internalized and inverted by corporate America itself, so now corporate America has mandatory fun events and mandatory displays of creativity.

In other words, past countercultures have been absorbed into corporate America’s conception of itself. David Solomon isn’t your father’s stuffy investment banker. He’s a DJ! And Goldman Sachs isn’t like the stuffy corporations you heard about growing up. They fly a transgender flag outside their headquarters, list sex-change transitions as a benefit on their career site, and refuse to underwrite an IPO if the company is run by white men. This isn’t just posturing. Wokeness is a cult of power that maintains its authority by pretending it’s perpetually marching against authority. As long it does so, its sectaries can avoid acknowledging how they strengthen managerial America’s stranglehold on life by empowering administrators to enforce ever-expanding bureaucratic technicalities.

…

Moreover, it is shocking that no one in the 2020 campaign seems to have reacted to the dramatic change that happened in 2016. Good storytellers are attuned to audience sophistication, and must understand when audiences have grown past their techniques. Everyone has seen hundreds of movies, and read hundreds of books, and so we intuitively understand the shape of a good story. Once audiences can recognize a storytelling technique as a technique, it ceases to function because it draws attention to the artifice. This creates distance between the intended emotion and the audience reaction. For instance, a romantic comedy follows a couple as they fall in love and come together, and so the act two low point will often see the couple breaking up over miscommunication. Audiences recognize this as a technique, and so, even though miscommunication often causes fights, it seems fake.

Similarly, today’s voters are sophisticated enough to recognize the standard political techniques, and so their reactions are no longer easily predictable. Voters intuitively recognize that candidate “debates” are just media events, and prewritten zingers do not help politicians when everyone recognizes them as prewritten. The literary critic Wayne Booth wrote that “the hack is, by definition, the man who asks for responses he cannot himself respect,” and our politicians are always asking us to buy into nonsense that they couldn’t possibly believe. Inane political tropes operate just like inane business jargon and continue because everyone thinks they’re on the inside, and this blinds them to obvious developments in how audiences of voters relate to political tropes. Trump often plays in this neglected space.

The artistic development of the sitcom can be seen as the process of incorporating its own artifice into the story. There is a direct creative lineage from The Dick Van Dyke Show, a sitcom about television comedy writers, to The Office, a show about office workers being filmed for television. Similarly, Trump often succeeds because he incorporates the artifice of political tropes. When Trump points out that the debate audiences are all donors, or that Nancy Pelosi doesn’t actually pray for him, he’s just pointing out what everyone already knows. This makes it difficult for other politicians to “play the game,” because their standard tropes reinforce Trump’s message. If the debates are just media spectacle events for donors, then applause lines work against you. It’s similar to breaking the fourth wall, while the rest of the cast nervously tries to continue with their lines. Trump’s success is evidence that the television era of political theater is ending, because its storytelling formats are dead.

In fact, the (often legitimate) criticism that Trump does not act “presidential” is the same as saying that he’s not acting professional—that he is ignoring the rules of bureaucratic advancement. Could you imagine Trump’s year-end review? “In 2020, we invite Donald to stop sending Outlook reminders that just say ‘get schlonged.’” Trump’s antics are indicative of his different route to power. Forget everything else about him: how would you act if you never had a job outside a company with your name on the building? The world of the professional managerial class doesn’t contain many characters, and so they associate eccentricity with bohemianism or ineptitude. But it’s also reliably found somewhere else.

Small business owners are often loons, wackos, and general nutjobs. Unlike the professional class, their personalities vary because their job isn’t dependent on how others view them. Even when they’re wealthy or successful, they often don’t act “professional.” It requires tremendous grit and courage to own a business. They are perhaps the only people today who embody what Pericles meant when he said that the “secret to freedom is courage.” In the wake of coronavirus, small businesses owners stoically shuttered their stores and faced financial ruin, while politicians with camera-ready personas and ratlike souls tried to increase seasonal worker visas.

…

Ever since Star Wars, screenwriters have used Joseph Campbell’s monomyth to measure a successful story, and an essential act one feature is the refusal of adventure. For a moment, the universe opens up and shows the hero an unknown world of possibility, but the hero backs away. For four years, our nation has refused adventure, yet fate cannot be ignored. The coronavirus forces our nation to confront adventure. With eerie precision, this global plague tore down the false stories that veiled our true situation. The experts are incompetent. The institutions told us we were racist for caring about the virus, and then called for arresting paddleboarders in the middle of the ocean. Our business regulations make it difficult to create face masks in a crisis, while rewarding those who outsource the manufacturing of lifesaving drugs to our rival. The new civic religion of wokeness is a dangerous antihuman cult that distorts priorities. Even our Hollywood stars turn out to be ugly without makeup.

#james mcelroy #american affairs #read the whole thing

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ancientcalamity · 7 years

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『 193 out of 200 followers... Pfft, close enough! Hello, everyone! Thank you all for following me. I'm grateful and... it's been many years since I last made a Follow Forever or anything like this; been years since I've trusted people enough to really bother, so it was hard for me to do. There's going to be that bias list below, the different people I know/have come to know/am in the process of getting to know and that have changed me for the better I guess you could say? So, to all of you, even if you aren't on the list,

thank you.

I’d like to put a warning here that it gets pretty personal below the cut, so for a tl;dr of the names, they are as follows:

@guidcnce

@blessedbisha

@divineveena

@hafuriyuki

@calamitouscyan

and last but not least, @shinxki.

Not only are they extremely skilled as writers, they’re extremely wonderful people altogether.

Now...

If ya continue to read, it’s yer choice now. It’s long. 』

As a child to early teen, I'd gone through multiple different types of abuse ranging from sexual to mental and while I'm not a coo-coo person going out to murder random people (lol) or anything like that, I do have mental illnesses and I've had physical disorder(s?) that I'm still going through/getting past thanks to my history.

Each day, I feel horrible waking, honestly.

Don't feel worth it. I'm obnoxious. I'm pushy. I'm clingy. I'm a creep. Still getting to know myself as a person. Still getting to understand emotions again. Still getting to being normal in some way. Still trying to get to the point of not blaming myself for any and everything bad that happens to me or my loved ones.

Those sorta things and of course the other usual stuff besides depression.

Anxiety.

Mild schizophrenia.

Extremely mild dissociative disorder.

aaaaand lastly paranoia.

I don’t think I’m too ‘out there’ with my mental issues and I think I’m sane enough to handle myself out in the world so yeah. My eating disorder isn’t here any longer but I do forget to eat by accident (woops!) so my anemia decides to go

and so, I, in return, go

“-dies-”

I came to the Noragami roleplaying fandom on October 22nd, 2016, but I wasn’t really... out there and not known to much of anyone. I didn’t post for long periods of time, too, and I just sorta accepted it cuz ya know? I was new. I met a few blogs here and there but low and behold that didn’t work out but I’m pretty used to having shit go down the drain for me. It wasn’t odd or anything for me and for a bit I’d though about deleting, remaking, and going to another fandom.

Fast-forward to late November-beginning December and I get a follow back by @guidcnce. “Whoa! Cool! A Kazuma! Holy shit a Noragami blog is following me!” I said, getting overly excited as I ate my Oreos that day-- “Lemme check out their blog!”

Lil’ ol’ me goes to see the blog, I’m happy, excited-- and my eyes fall on @calamitouscyan, @divineveena, and @hafuriyuki.

“....Shit.”

“Okay, so 1.) There’s another Yato and holy fuck, his blog is great, 2.) There’s a BISHAMON ( @divineveena ) but she talks to @calamitouscyan too (fuck me sideways) and 3.) A YUKINE! ( @hafuriyuki ) YAAAA- fuck he tALKS TO @calamitouscyan too?!?!? HOW FUCKING FAMOUS IS THIS DUDE?? Shit, they must’ve been here for such a long time, shit shit shit shit shit--”

Insert panicking and anxiety filled Cel here! -pops party streamers- WOOOOOOO! Yer not good enough!! Fuck yeah! You got people that’ve not only been here WAY longer than you but your blog LOOKS LIKE TRASH AND SO DO YOUR ICONS! NICE!

Yooooooooooou suuuuuuuck!

I suck it up, keep my emotions to myself and wing it with @guidcnce; I got new followers, I meet with OCs and canon rpers, I talk and plot with people, things goin’ great! Kazuma’s bitch ass is being one of the nicest people I’ve met and holy fuck if it wasn’t for them being so nice/lenient with me I wouldn’t-- WAIT. THAT’S NOT IT!

DID YOU KNOW MY YATO IS NOT A /NORMAL/ YATO??? NO?

...

why the fuck are you reading this then?

Go read my About and Rules, you fucker I swear to GOD I WILL FUCKING END YOUR LI-

....

..........

...moving on.

Kazuma had the NERVE to not ONLY reply to my starter with them in canon (well written canon might I add if you don’t follow them you might wanna do so cuz ya know they’re great and stuff and mhm good shit-- A-ANYWAYS-), but also responded to my character AS IF THEY WERE IN THE SAME VERSE AND WORLD AND SPEAKIN’ NORMALLY-- I just...

I WAS EMOTIONAL OKAY???? I STILL AM.

I STILL AM DAMN YOU.

...They didn’t just treat me right when we met and talked in private but they did so in rp and... I think because of them I started to open up more. Finally, I got in gear with my blog and icons and every thing in general for Tumblr. I made a brand new follow post and I was excited and--

....why are @divineveena, @calamitouscyan, and @hafuriyuki following me??? ........no.

no.

NO.

NONONONONONONONONONO--

I’M NOT READY FOR THIS WHAT IF THEY THINK I’M SHIT WHAT IF THEY MOCK ME WHAT IF THEY TALK ABOUT ME THEY SEEM LIKE FRIENDS I’M NEW WHAT IF-

aaaaand here goes panicking Cel x2.

These people are following me, reblogging from me, SENDING ME ASKS--

I get invited to a group of other people and... I’m afraid. Skeptical and looking back at it, I still am sometimes but... that’s something for another day.

@calamitouscyan, @divineveena, and @shinxki are the main others there and it feels like going to a party in the Office and you know how everything is awkward? Yeah that.

There are a few others that I’m sad to say are no longer there but... I don’t hate anyone. Was raised differently than that.

A month goes by and I feel better to talk to others, a few events have happened, and it looks like I have a brand new roleplay partner! Not only did @calamitouscyan and @shinxki include me in something I never thought I’d do- having an OC shinki, a LIVING-- ...dead? ... breathing? ...

fuck it, whatever-- AN OC SHINKI THAT WE LITERALLY FIGHT TOGETHER, but they were supportive during the whole time. @hafuriyuki joined us soon and both of the shinki got along and just...

Everyone was together. An actual family and a group. @calamitouscyan turned out to be another ‘self’ (DICEEEEEEEEEEEEEEEEEEEEE) ((don’t ask, they’ll get it)) in not just rp but /outside/ it too because of our cultural similarities and it moved to the point I showed a game I was playing and they joined. THEY JOINED AND WE DANCE TOGETHER IN GAME!

I’M NOT KIDDING, LOOK!

I have a friend to play with!

Outside of the game, @divineveena ruins my FUCKING life because we managed to make a relationship for Older!Yato and Bishamon, you wouldn’t be able to tell that they tried to kill each other at one point.

A BrOTP to such a point-- ugh it’s been years.

YEARS.

Trusting people has not been something I do and after YEARS of agony she managed to be my literal best friend and it makes me want to cry.

FUCK WE CAME UP WITH STUPID AS FUCK ‘CRINGE’ MEME ICONS. SHE HAS ONE OF BISHAMON. HERE’S YATO.

It’s AMAZING.

The amount of memes we make it fuckin’ stupid. I love it.

and now there’s another Bishamon- not giving me two of the same type of person but a Bishamon who’s tragic and heartbroken and has problems @divineveena but another who’s ALSO tragic but also healing and softer. @blessedbisha

She has tried her fucking hardest to bring up spirits and cheer up others and just do what she can for each of us- she’s like a mom. I’m Satan of the fandom so someone has to even out my evil deeds-

SERIOUSLY, though, when things are down and horrible, they keep moving.

It’s encouraging.

Both of them.

They both try so hard for everyone, even in the worst times.

Even though I know @divineveena more, I highly doubt @blessedbisha is less caring and both of them fuck up my life as Bishamons because...

ya know.

Bishamon likes beating me up and ruining my day SO YEAH.

....then there’s @shinxki.

I believe I met her around two or three months ago, after meeting the other Yato and Bishamon.

.......

...............

-deep breath-

When I ‘like’ a friend or someone it’s not /that/ type of crush. Not lovey dovey so don’t go cringing away from this post just yet.

It’s like... earlier I said I get clingy; I’ve been abandoned before, multiple times, whether it be for my sexual orientation, my race, my gender issues, my mental issues, my bluntness, or whatever the fuck else people have blown up on me and told me before they left, I’ve been dropped and left. Even recently, when I first started this blog, someone did it within a week because I left to give them space after we had a disagreement. It’s still affecting me, even now. I don’t...

I don’t do well with people hiding things or forgetting me or leaving me behind. I have the phobia about being forgotten or abandoned. It’s full blown and it isn’t pretty. I hate it, but when there’s someone who puts effort into me or something I like and at the same time they talk to me about their issues and don’t hide those things from me and trust me and want to actually bother with me and put up with me and it’s just

-rambling-

IT’S LIKE

“THIS IS MY FRIEND. THIS IS /THAT/ FRIEND. THIS IS THE MAJOR FRIEND. LOOK AT THEM. LOOK. DO YOU SEE THEM? THIS IS THE BAE OKAY LOOK.”

I guess what I’m saying is she’s close. She means a lot and I’m grateful that she

-puts up with me -likes me as a friend -is my shinki -is my ship-friend -is honest with me -is blunt -goes off on me -snaps at me -gets mad at me -doesn’t put me on a pedestal -doesn’t hide things from me

the list goes on but I guess you get the point.

......When I was either 11 or 12 or somewhere near that age, I made a promise to myself, not a nice one and the date of that promise is coming but/and for the first time in a long while, and I mean years again, I don’t know what to think about it and I’m not sure if things will end up going to that point.

To be fair, the only thing I really want now is a job and to go to school. I have a great mom and I actually have friends so... that’s all I want and...

...I think I’d be okay if I had that.

Maybe a therapist and/or a counselor again, too (lmao)...

but... I have these guys to thank for helping me get as far as I have. My life only seems like it’s a downward spiral but they all make me so happy and I owe a lot to them. I’m brash, harsh, blunt, depressed, anxious, and all around a not very pleasant person to be around and all of them try for me and each other. ...They all put themselves down or they’re unhappy in some way and it hurts, because they mean so much more than that and I don’t know what else to do for them.

I’m a person behind a computer screen so... -shrugs-

A ‘thank you’ isn’t really enough. Not a simple one, anyways.

You each mean a lot to not only me but others and I want you and other people to know that. I’m not dead yet, so ya have to be doin’ something correct, right?

...

I’mma stop rambling and leave this here for you all, alright?

𝑚𝑎𝑦 𝑜𝑢𝑟 𝑓𝑎𝑡𝑒𝑠 𝑖𝑛𝑡𝑒𝑟𝑡𝑤𝑖𝑛𝑒.

- 𝖈𝖊𝖑.

#♔ follow forever #guidcnce #blessedbisha #calamitouscyan #divineveena #shinxki #♔ personal||anxieties #personal;#♔ Promos #♔ long post #♔ large promo

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