The Hammock Papers: Abstractions.

16 March 2024

Abstractions.

William Deresiewicz on how a dose of working-class realism can save journalism from groupthink ...

“Now we’re not only a college-dominated profession,” wrote David Brooks not long ago, citing a study that found that more than half of writers at The New York Times attended one of the 29 most selective institutions in the country; “we’re an elite-college-dominated profession.”

The result is that contemporary journalists have a relationship to ideas that is more or less the opposite of the old school’s. It begins before they even get to campus. Students at elite colleges are drawn overwhelmingly from the upper classes, with roughly two-thirds coming from the top 20% of the income distribution. (Given the kinds of starting salaries that journalism pays, it’s fair to assume that those who go on to join the field skew even more heavily toward the higher end of the scale.) They grow up not only having little contact with ordinary people, but amidst the class of experts. Their parents—and their friends’ parents and their parents’ friends—are doctors, lawyers, bankers, executives, policy professionals, professors: people who work with abstractions and symbols, not things. They learn to see the world from the point of view of experts, to have faith in expertise, to speak its language and accept its values. Their epistemology is top-down: they start with ideas and come to tangibilities, to concrete facts, only later, through their lens.

Then comes college—and not just college, but the college of today. The college of Critical Theory and “studies” departments. This isn’t liberal arts school, either. You do not start with texts, with philosophy and literature and history, and see what they have to teach you. You start with theories and impose them on texts. You do not argue and debate; you write down what the teacher says. (If you ever do “debate,” you are careful to do so within the parameters laid down by Theory, by the ideology.) You do not think; you are handed a set of abstractions—patriarchy, intersectionality, late capitalism, and so forth—and let them do your thinking for you. Your institution’s goal is to teach you to be not a skeptic, an intellectual, but an activist.

No comments:

Post a Comment

WOLFGANG AMADEUS MOZART

"When I am, as it were, completely myself, entirely alone and of good cheer – say travelling in a carriage or walking after a good meal, or during the night when I cannot sleep – it is on such occasions that my ideas flow best and most abundantly. Whence, and how, they come I know not ; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this dainty morsel to account, so as to make a good dish of it. That is to say, agreeable to the rules of counterpoint, to the peculiarities of various instruments etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised, and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it like a fine picture or a beautiful statue at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What a delight this is, I cannot tell."

MARCUS AURELIUS

"Is your cucumber bitter? Throw it away. Are there briars in your path? Turn aside. That is enough. Do not go on and say, 'Why were things of this sort ever brought into this world?' neither intolerable nor everlasting - if thou bearest in mind that it has its limits, and if thou addest nothing to it in imagination. Pain is either an evil to the body (then let the body say what it thinks of it!)-or to the soul. But it is in the power of the soul to maintain its own serenity and tranquility."

VINCENT van GOGH

"What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge. As time passes, other things are increasingly excluded, and the more they are the faster my eyes see the picturesque. Art demands persistent work, work in spite of everything, and unceasing observation."

DAN CAMPBELL