Author: David

Rumblings and Reverberations

Assorted oddments for the weekend, including how to unintentionally traumatise your own children; scenes of enrichment and cultural diversity; scenes from atop the Chrysler Building, 1930; a brief guide to a salty and surprisingly versatile English word; and acoustics where it counts.

All this and more.

And for those so inclined, it’s fundraising week over at my place.

If you’d like to help keep a blog afloat, and ad-free, by all means do.

In Racial Dominatrix News

“Why liberal white women pay a lot of money to learn over dinner how they’re racist.” Says the Guardian, approvingly.

It turns out that quite a few well-heeled ladies of the left are keen to be denounced over dinner as “part of the problem,” warned against having “unmonitored thoughts,” and told to “own their racism,” whether real or imagined, in what amounts to a niche, and rather perverse, status game.

If it sounds self-preoccupied and a tad neurotic, that’s because it is.

The Year Reheated

Time, I think, for my end-of-year retrospective. Twelve months of competitive wokeness and assorted mental contortions:

In March, Dr Charlotte Riley, currently employed by the University of Southampton, unveiled her latest feminist innovation, which she titled Patriarchy Chicken, and which entails deliberately and repeatedly colliding with random male commuters. For the Sisterhood, you see. Mr Claude Boudeau thrilled us with his seemingly limitless artistic talents, namely a performance piece titled Cascade. We also witnessed the phenomenon of Brookylnite lefties in search of love via a socialist-only dating platform, with the fiercely egalitarian declaring their revolutionary ambitions to each other, along with their preferred pronouns and various mental health issues. Alas, said platform has not proved an enormous success, resulting instead in disgruntlement, mutual loathing, and demands for romantic quotas.

There’s more, lots of it.

I Bring You Art

The organisers of the event, titled Performance Is Alive, tell us that in order to avoid being “vapid,” they curate only “the best projects based on the merits of the work.” They are, we learn, presenting “art that’s critical and progressive and transgressive.” Gathered talents will “investigate a wide range of social and political topics” while engaging in “durational performance actions” that “allow artists… to employ repetition and endurance.”

Because if there’s one thing art should be, it’s a test of one’s endurance.