Sunday, January 4, 2015

Study Notes: Dec 28, 2014-Jan 3, 2015: "Anarchism and the Constitution"

This is commentary. And this is really good. 

What I've been watching and reading this week: 

 Homework for the future: 

 "Anarchism and the Constitution"
  • "An anarchists, we find ourselves in an environment run by statists who attempt to get away with all manner of illegitimate actions and policies. For us, those acts and policies are not illegitimate because they are inconsistent with the state's own internal rules. We believe there are no rules that can justify the state or its coercive actions." 
  • "If they could just ignore the constitution to get what they want, they wouldn't bother framing their acts in any construction of the constitution at all. Clearly, the constitution doesn't matter to them in the way it's supposed to, but it does play some sort of role in the state's performative exercise of authority and power." 
  • "We have a situation where the proper homage and respect must be paid to a document that provides the basis for the ruling class's state power. However, that class doesn't always agree about how that power should be wielded. When such a disagreement occurs, it can threaten the continued coherence of the state, which would deny the entire class uninterrupted power and legitimacy and create a window of opportunity for competing narratives of how we might be ruled. There must be an arbiter to resolve this dispute to preserve the overall infrastructure of the state." 
  • "Think of anarchist constitutional scholarship as counter-intelligence and strategic analysis. For example, the CIA was intensely interested in the internal disputes and intrigues of the Soviet Kremlin. This wasn't because they were rooting for one side over the other as a matter of justice or morality. It had more to do with trying to predict future policies and acts of that government, since those in charge are the ones who effect those policies and actions." 
  • "To flip von Clausewitz's aphorism, politics is the continuation of war by other means. Anarchists should regard constitutional politics as nothing less." 
"Anarcho-Theocracy"
  • "'Anarcho-capitalism' is a radically consistent capitalism, seeing all human action as an economic function, and therefore appropriately directed by market forces, not bureaucratic forces." 
  • "Our thesis is that actions which are sinful for individuals (such as theft, murder, and kidnapping) are also sinful even for those who call themselves 'the State,' or who collect a carefully-screened 'representative' sample of people (e.g., 'eligible voters') who will 'vote' for them or 'elect' them to become 'the State,' or who claim to have inherited the right to sin (tax, execute and conscript) from a relative (e.g., 'hereditary monarchy'). Stated another way, our thesis is that Christians should work to abolish any institution which claims an ethical right to steal, kill, or kidnap (such as the State, the Mafia, etc.), and abolish such an institution in a way that does not involve stealing, killing, or kidnapping. [bold emphasis added]" 
  • "The purpose of the State is to take vengeance. It was invented by those who would not wait for the Lord to repay. If it is sinful for me to take vengeance, it is sinful for me to hire someone to take vengeance for me (a mafia hit-man), and it is sinful for me to 'vote' for someone to take vengeance for me." 
  • "Even if the State were a completely voluntary association, which did not finance its activities by initiating force or threats of force against others in order to confiscate their wealth, its fundamental purpose-- taking vengeance-- is sinful and prohibited to all human beings." 
  • "According to Jesus, the opposite of an 'archist' is a 'servant.'"
  • "'But without a State to control the people, won't the masses break out into lawlessness and violence?' They are more likely to do so if the society officially and publicly legitimizes force, which is what society does when it creates the State, which then models violence as an ethically legitimate response to the frustrations of life." 
"Historical Examples of Anarchy without Chaos" 
  • Once again it may have served me well to skim through an article before selecting it as one to read. It turns out that this page not only contains excerpts, but also links to many, many articles. I do fear that it will take a long time to digest them all, so for the time being I will leave them alone and read only the excerpts. 
  • Richard H. Timberlake, How Gold Was Money-- How Gold Could Be Money Again: "Until the time of the Civil War in the United States, banks routinely held gold and silver as redemption reserves for their outstanding notes and deposits while the federal government held just enough to expedite its minting operations. Congress had the constitutional power to coin money,' but that power did not presuppose that it keep any stock of gold and silver beyond the inventory requirements of its mints. Indeed, even though Congress had the power it was not required to coin money at all. Private mints flourished until the Civil War, often minting coins of slightly greater gold content than government mints." 
  • Murray Rothbard, How the Western Cattlemen Created Property Rights: "The cattlemen's associations also organized efforts to keep rustlers at bay 'by patrolling the range and hiring stock detectives who tracked down thieves.'" 
  • Stefan Blankertz, Has the State Always Been There? How Tribal Anarchy Works: "The intention of my speech is to rectify the false assumptions about the origins of human society. My intention is not to advertise the tribal organization as the model for modern societies. But to know that the root of all our societies is a well functioning, self-conscious anarchy changes the question whether anarchy is possible to the question how anarchy is possible." 
"Is Medieval Iceland an example of 'anarcho'-capitalism working in practice?" 
  • "Ironically, medieval Iceland is a good example of why 'anarcho'-capitalism will not work, degenerating into de facto rule by the rich."
  • "Like more cultures claimed by 'anarcho'-capitalists as examples of their 'utopia,' it was a communal, not individualistic, society, based on artisan production, with extensive communal institutions as well as individual 'ownership' (i.e. use) and a form of social self-administration." William Ian Miller: "Social relations preceded economic relations. The nexus of household, kin, Thing, even enmity, more than the nexus of cash, bound people to each other." 
  • "Kropotkin in Mutual Aid indicates that Norse society, from which the settlers in Iceland came, had various 'mutual aid' institutions, including communal land ownership (based around what he called the 'village community') and the thing..."
  • "Like the early local assemblies, it [the Hreppar] is not much discussed in the sagas but is mentioned in the law book, the Gragas, and was composed of a minimum of twenty farms and had a five member commission. The Hreppar was self-governing and, among other things, was responsible for seeing that orphans and the poor within the area were fed and houses. The Hreppar also served as a property insurance agency and assisted in case of fire and losses due to diseased livestock." 
  • "As in most pre-capitalist societies, there were 'commons', common land available for use by all. During the summer, 'common lands and pastures in the highlands, often called almenning, were used by the region's farmers for grazing.' This increased the independence of the population from the wealthy as these 'public lands offered opportunities for enterprising individuals to increase their store of provisions and to fine saleable merchandise.'"
  • Jesse Byock, Viking Age Iceland: "As early as the 900s, the whole country seems to have been divided into hreppar... Hreppar provided a blanket of local security, allowing the landowning farmers a measure of independence to participate in the choices of political life... Through cooperation among their members, hreppar organized and controlled summer grazing lands, organized communal labour, and provided an immediate local forum for settling disputes. Crucially, they provided fire and livestock insurance for local farmers... [They also] saw to the feeding and housing of local orphans, and administered poor relief to people who were recognized as inhabitants of their area. People who could not provide for themselves were assigned to member farms, which took turns in providing for them."
  • Gissurarson: "Each commune was a mutual insurance company, or a miniature welfare state. And membership in the commune was not voluntary. Each farmer had to belong to the commune in which his farm was located and to contribute to its needs." 
  • "Prices were subject to popular judgment at the skuldaping ('payment-thing') [and] not supply and demand... Indeed, with its communal price setting system in local assemblies, the early Icelandic commonwealth was more similar to Guild Socialism (which was based upon guild's [sic] negotiating 'just prices' for goods and services) than capitalism." 
  • "Therefore we see communal self-management in a basic form, plus co-operation between communities as well. These communistic, mutual-aid features exist in many non-capitalist cultures and are often essential for ensuring the people's continued freedom within those cultures..."
  • Encyclopedia Britannica: "The extent of the godord was not fixed by territorial boundaries. Those who were dissatisfied with their chief could attach themselves to another godi... As a result rivalry arose between the godar; as may be seen from the Icelandic sagas... The position of the godi could be bought and sold, as well as inherited; consequently, with the passing of time, the godord for large areas of the country became concentrated in the hands of one man or a few men. This was the principal weakness of the old form of government: it led to a struggle of power and was the chief reason for the ending of the commonwealth and for the country's submission to the King of Norway." 
  • Y. Cohen: "Chiefdoms are neither stateless nor state societies in the fullest sense of either term:they are on the borderline between the two. Having emerged out of stateless systems, they give the impression of being on their way to centralised states and exhibit characteristics of both." 
  • "Initially, when Iceland was settled, large-scale farming based on extended households with kinsmen was the dominant economic mode. This semi-communal mode of production changed as the land was divided up (mostly through inheritance claims) between the 10th and 11th centuries. This new economic system based upon individual possession and artisan production was then slowly displaced by tenant farming, in which the farmer worked for a landlord, starting in the late 11th century." 
  • "The undermining of self-management in the various Things was also likely as labourers could not vote freely as they could be subject to sanctions from their landlord for voting the 'wrong' way..." 
  • "In conjunction with the development of the storgadar elite [the six families in whom the bulk of the chieftancies now resided, and which 'gained control over whole regions'], the most successful against the baendr [farmers] also moved up a rung on the social ladder, being 'big farmers' or Storbaendr [brackets original]..."
  • "How a pre-capitalist society can provide any evidence to support an ideology aimed at an advanced industrial and urban economy is hard to say as the institutions of that society cannot be artificially separated from its social base. Ironically, though, it does present some evidence against 'anarcho'-capitalism precisely because of the rise of capitalistic elements within it." 
  • "Inequality in wealth will also become inequality of power."
  • "'Free market' justice soon results in rule by the rich, and being able to affiliate with 'competing' defense companies is insufficient to stop or change that process." 
  • "Private property, i.e. monopolisation of the means of production, allows the monopolists to become a ruling elite by exploiting, and so accumulating vastly more wealth than, the workers. This elite then uses its wealth to control the coercive mechanisms of society (military, police, 'private security forces,' etc.), which it employs to protect its monopoly and thus its ability to accumulate ever more wealth and power. Thus, private property, far from increasing the freedom of the individual, has always been the necessary precondition for the rise of the state and rule by the rich. Medieval Iceland is a classic example of this process at work." 
"Cha-change! Formal Experimentation in Adventure Time"
  • "When a show gets as experimental as Adventure Time has, playing with different styles, metatextual elements, surreal explorations of sexuality, and so on, that show deserves praise." 
  • "First, let's talk about why Adventure Time has the freedom to play around with form and narrative so extensively. The show has, over the course of five-and-change seasons, grounded the weirdness in remarkably sincere emotional relationships between the characters. And this sincerity is a gift that keeps giving as far as experimentation is concerned." 
  • "Between Finn's real father turning out to be a massive asshole, Marceline going through an emotionally taxing repeated cycle of recovery and abandonment from both her father and her father figure, Flame Princess' struggle with her evil tyrant father, and numerous other examples, it's harder to find a stable, lasting relationship between fathers and children anywhere in the show. It's clearly an idea that the show's writer's are interested in grappling with, just as it's clear that they want to grapple with issues of adolescent sexuality, consent and mutual respect, queerness, and the complicated nature of morality as you grow older."
  • "Between highly metafictional genderflop episodes, meditations on the nature of fanfiction, weird interconnected multi-thread narratives, and whole episodes animated and written by auteur directors, the show cheerfully has dived off the deep end numerous times secure in the knowledge that the groundwork laid in other episodes with respect to the characters and the bonds that connect them will act as a safety net to catch them." 
  • "His [Masaaki Yuasa's] work reads to me like some sort of bizarre alternate animation history artifact, a product of a whole divergent evolution in what animation looks like that branches from a different body of Osamu Tezuka's work, maybe in a timeline where The Princess and the Cobbler was actually completed.' 
  • "One of the ideas that's starting to gain attention in the wild, weird, and wet world of Theory is sort of a broad network of notions tied to the term 'Posthuman.' 'Posthuman' is not to be confused with 'transhuman'-- the notion of transcending the limitations and suffering of the human race through technology. Posthumanism involves broadening thinking beyond the concerns of humans alone and considering the way in which human-centric narratives might erase other possible narratives, aims, and agencies. At its most comprehensible this can be applied to animals, in recognizing that they both do not have human subjectivity and they do not act for human purposes... At its weirdest we can talk about Object Oriented Ontology, which is interested in the concept of being and existence from the 'perspective' of objects, which in some definitions encompasses just about everything that exists."
  • "One of the notions that Posthumanism is tied to is the consideration of positionality. Your position within the world alter[s] your perceptions and the networks you are a part of. For the caterpillars, for example, their networks of relationships extend strongly to the plants which provide them food and the birds with [which?] prey upon them. This network is different from the networks of the birds who relate to the Oasis that serves as the scene for the story in a different way than the caterpillars do. For the birds, the oasis is of interest-- is part of their network-- only insofar as it is a potential source of caterpillars."
  • "On a larger scale this potentially helps us recognize that ecosystems are not designed for human activity alone." 
  • "There's a fascinating refusal of romanticism here, actually, that's actually somewhat refreshing and liberating to me. Rather than embracing a notion that is often embraced in stories that feature reincarnation-- namely, the notion that relationships will remain immutable across form and time-- this narrative recognizes that relationships shift with a shift in position." Getting thoughts for playing within reincarnation within the context of single lives, shifting form (and position) without dying, per se. 
  • "Like in Cloud Atlas, love is not necessarily eternally bound to one particular traditional cishet monogamous relationship but as bodies shift and positions shift love too is revealed as conditional and based on position." 
  • "Jake, who has been through the same experience, has always managed to remain somewhat apart from it, observing but not being absorbed the way Finn was, and while Finn seems, based on the song's lyrics, to perceive the food chain as some sort of lofty perfect system, Jake recognizes the way in which individual members of the chain may attempt to avoid their 'naturally ordained' fate." 
"Hyperflexible Mythology"
  • The system of Mythological Roles "represents one of the many systems within Homestuck that fans can latch onto as a structure to manipulate and deviate from in fan works." 
  • "The Classpects share many of their most useful qualities with such diverse systems as the Five Colors of Magic in Magic: The Gathering, the four Houses of Hogwarts, and the multi-person teamup nature of Pacific Rim's Jaegers. What these systems all share is a certain amount of arbitraryness [sic] and vagueness balanced by a named structure and a range of possible, tangible implementations of that structure. And they seem to share many of the same effects on fanfiction and fandom activities, making certain things possible that are not, perhaps, as easy to pull off with either more loosely or more ridigly defined structures." 
  • "The result of these shenanigans is that we have just enough information to begin speculation on what the less well defined Classpects might be and do, without enough information to rigidly define the possibilities as, say, the fairly well circumscribed four (and a bit) types of bending in the Avatar universe define possibilities for that setting, just for example."
  • "Hyperflexible Mythologies also often contain literal and nonliteral qualities-- a literal powerset (skills drawn from a Classpect, spell types that fall under the five colors of mana in MTG) and a symbolic dimension that taps into themes, philosophical concepts, character arcs, &c."
  • "One of my favorite people, Melissadoom, pointed out to me in a chat last night that while this class [Prince] doesn't overtly make a lot of sense, it's possible to understand it by way of Machiavelli's infamous text. And there's some indication that Princes in-story are predominantly schemers and amassers of power. The title thus depends upon association and evocation for its meaning rather than a straightforward translation of powers and implications. You typically have to go one or more (sometimes many more) levels into the Classpect before the meaning starts to become apparent, and even then everything is still subject to the confusion stemming from each character's as-of-yet unfulfilled destinies." 
  • "I think this has indisputably helped to fuel the ravenously passionate fanbase Homestuck has accrued over the years. The sheer number of potential readings, hidden meanings, and endless conceptual permutations results inevitably in what is probably an endless array of possible conversations and debates. Homestuck here mirrors other literary works of lasting merit: just as we endlessly circle around what T.S. Eliot described as a problematically flawed play, Hamlet, or Eliot's own disjointed and often deliberately evasive "Waste Land,' so I suspect that we will circle around the meanings in Homestuck for a long time." 
  • "One of the intriguing things about Hyperflexible Mythologies is that they make recombinations easy to generate. You can, for example, reassign mythological roles or parts of mythological roles to different characters, then extrapolate backwards to how that role was assigned and extrapolate forwards to that reassignment's effect on the narrative. While the roles are ambiguous in many cases, this just provides greater incentive for authors, as the fanfiction can serve effectively as not just a narrative in its own right but a form fo [sic] theorizing and speculation through narrative. it's fanfiction serving as literary analysis." 
  • "If fanfiction is at its best when grappling with key concepts from the original series (and I think it often is) then these games of combination and recombination serve as an easy vehicle for such considerations." 
  • "Hyperflexible mythologies thus provide a range of things to the writer: they provide a series of problems for consideration, tangible possibilities for alternate paths, potentially fruitful interactions with other systems, and an array of potential solutions to the difficulties and problems that are both inherent in the base structure and generated by the manipulation and recombination of that system."
  • "There's one other profound advantage to hyperflexible mythologies as well which I've hinted at a little bit but which is worth exploring in more explicit detail. That's the power of total randomness-- the reworking of these ideas outside of an intelligent author's control, everything determined by a roll of the often digital dice." 
  • "For the Surrealists, randomness was a way of bringing the Unconscious into the world. What they saw within random designs represented to them their deeply buried thoughts manifesting in reality." 
  • "The houses [of Hogwarts] are so vaguely circumscribed according to such arbitrarily and potentially heavily overlapping characteristics that there's a certain amount of arbitraryness to any assignment. Recognizing that and pushing that to the logical conclusion that you can assign the houses effectively at random is a profoundly creatively empowering insight, because it provides you the opportunity and the challenge (remember, the two go hand in hand!) to invent character justifications for those assignments. It becomes not a process of finding the Best Fit but a process of finding the Best Story, which is probably more important in the end." 
  • "There's one potential downside to this structure however that's worth discussing. That's the limitations of going beyond the existing system. It's very difficult to envision a Sixth Color of Magic or a New Aspect or Class. I've seen only one really successful attempt at the former, and only a handful of successful attempts at the latter." 
"Obscure Mythology" 
  • Bakabaka84: "Dewi Sri: Pre-Hindu and Pre-Islamic Javanese goddess of rice and fertility. She also is thought to have dominion over the Moon and the underworld. She was thought to have some control over prosperity and famine when it comes to agriculture especially rice which is a staple of Java and through this she has some dominion over life and death. She is also often associated with Rice Paddy Snake... In one myth she is born a princess but is poisoned and from her grave sprang different plants coming from different parts of her body." 
  • Cynara: "Egyptian women apparently squatted on bricks to raise them off the ground during labour - I suppose it gave the midwife more room to catch the baby on the way out. Being 'on the bricks' was a term for giving birth." 
"4 Famous Movies with Deceptively Complex Symbolism"
  • "My favorite literary device is a very specific form of symbolism. How specific? Well, I'm pretty sure it doesn't have a name [so Gladstone names it the Trans-Redemptive Symbol]. It's when a symbol transforms to represent redemption. The object that best reflects the protagonist's sin or obstacle is repurposed to represent redemption..."
  • In Children of Men, protagonist Theo Faron carries a liquor bottle everywhere, representative of how "he simply doesn't care anymore. He doesn't want to feel. He doesn't want to be a part of anything." Later, however, as he tries to save two lives, "he pours out his liquor bottle to sterilize his hands." 
  • "When Theo did not care about others, the flask-shaped liquor bottle represented drunk indifference, but as he comes involved, the same object transforms to a symbol of compassion. It represents charity and commitment. One object, with two symbolic meanings." 
  • "Like all good symbolism, it's only articulating whats [sic] it represents that makes it sound corny."
  • In Up, "the house, which started as a nesting ground Carl created with his true love, became a symbol of him refusing to accept loss. By actively letting go of his memories, the house was able to become what it should have been: a dream he shared with his deceased wife." 
"How to write like... Philip K Dick"
  • "Dick always had fun with names and they were almost always in-jokes or puns. At the very least they were stream of consciousness syllables which sounded superficially like proper names but were made up." 
  • "He would include a lot of references to such things that were unexplained in the text, leaving you to make assumptions about what they mean. These would be added for local colour and to add texture to the world, leading you to believe there was more to know, more artwork outside the frame so to speak... The characters are familiar with the meanings of all these measurements and don't explain them, so that like someone entering a conversation halfway through, we ignore the bits we don't get in the hope it will make sense overall. We are like guests at a dinner party who don't want to seem ill-informed, and PKD relies on this impulse." 
  • "There are always drug use references in his works as he himself was a well known medicater [sic]... The cocaine cigarettes with the smirking and yet credible brand name are another PKD flourish." 
  • "Another thing he played with a lot was place names, everything had meaning in his stories and he wasn't too fussy about the meaning being unknown or obscure. Place names change, it sounds more sci-fi to abbreviate names, even names of countries. It is a cliche to do this now in dystopian SciFi, but when Phil Dick did it it was a new idea." 
  • "Dick was mildly unbalanced most of his life and his work is pervaded by an intense interest with perception, identity, reality and what they all mean. Warping of reality, people who don't really know who they are or are not sure, and never being totally certain of your own mind, are classic PKD hallmarks." I don't know where it's coming from or how it'll make sense, but: A dark-haired woman who wears sunglasses all the time. The protagonist is her hallucination. 
  • "Lots of PKD stories contain dark haired girls in important roles. Sometimes they arrive to rescue the hero, sometimes they arrive to trick him, but they almost always arrive. Their hair is short, it is dark, and they are here with a purpose." 
  • "In quite a few stories there is someone important returning from somewhere, space, time, another dimension, and their arrival is a timer of sorts. Stuff needs to happen before they get back. The returning person is either a saviour or a destroyer." 
  • PKD also makes use of "Stylish by almost EC Comics endings... Nothing chills the crap out of you in the middle of the night reading by torchlight than sudden terrifying endings." 
"How to write like... David Lynch"
  • "The thing to bear in mind about David Lynch is that he is a surrealist painter first and a filmmaker second. His stories are more like moving paintings. Events sometimes don't make a lot of sense, and critics and viewers often assume that these events are 'random' or 'wacky' in some way. The thing is they are almost always deliberate, and yet Lynch is not necessarily completely aware of what it means either. He employs internal logic, often culled from dreams or daydreams, and goes with his gut about wether [sic] something belongs in the story or not."
  • "Almost everything in his films is there as symbolism or humour." 
  • "Dogs and Record players are almost always significant, usually heralds of some kind of evil. Often he uses colours for the same ends. You may recall he has a fondness for red curtains and black and white tiled floors." 
  • "People in Lynch movies speak somewhat archaic 1950s English."
  • "Sound is very important, and he uses sound with these symbolic cues, dogs, curtains, swaying trees etc. to convey uneasy moods and impending doom. Sometimes sound is speeded up, sometimes it is reversed." 
  • "Often characters will hold random objects while speaking. Sometimes it's the actors [sic] choice and Lynch goes with it because it feels right. Sometimes he will get an urge to include something because it's found on set. Sometimes he brings it in specially." 
"How to write like... Douglas Adams" 
  • "The keynotes of his style are a razor wit, word play, and an attitude culled from the different parts of his personality."
  • "Their arguments and bickering drove the plot and gave Douglas time to put forth his own ideas about Life, The Universe and Everything through the opinions of his cast." 
  • "Douglas also had this way of writing long sentences with many clauses, sometimes with two or three asides inserted within commas, and yet no matter how long or wordy the sentences got, he refined and doubtless said them out loud until they read smoothly and naturally." 
"How to write like... Neil Gaiman"
  • "So you start out telling the whole story and then backtrack and explain how it happened. The way of you [sic?] foretell something horrible is about to happen you get a fair amount of suspense. You write outside the box, coming at the reader from odd angles they don't expect and introducing elements which don't necessarily belong in the story but make them work and creatively sew them into the fabric of what you're doing. And finally make sure that the overall flavour of the environment you are telling the story in is alive with gorgeous details." 
  • "'A wolf in the stomach' is slang for being hungry."
  • "So I laid out the direction of the story pretty fast in the opening paragraph." 
  • "The out of the box element is the detective's speculations about the gods, and how fallen gods might seek their worship in other ways... If you want to write like Neil then you have to go the extra mile, you have to not just put a twist on your stories but twist them around a few more turns. Then you stand back whistling and act like nothing is wrong, even point somewhere else in the room and say 'what's that over there', and let the audience find the extra twists, and smile when they do." 
  • "The massive degree of showmanship, misdirection and distraction of the settings and overall mood lull you into a sense of security, wandering along looking at the scenery... He is the Derren Brown of magical realism." 
"How to write like... Ian Fleming"
  • "Writing like Fleming is easy if you've read as many of his books as I have, but the key is sensual detail. Fleming was a well known lover of sensation, experiences, places, food and women. And these details were always very precise. He also knew what he considered to be the best of everything, and strove to discover it for whatever application he had; shampoo, watches, typewriters, clothes, food, coffee, you name it. What the best was, and why it was so good." 
  • "He also travelled extensively in Europe and the far east, knew America well, and used these travels in his work. But mostly he was a sensual writer and his prose is laced with the language of the senses, the touch of things, the smell, the taste, the light, and the sounds." 
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