Elsewhere (179)
Via dicentra, Darleen Click finds a mother whose environmentalist pieties have produced a nightmare teenager:
I can do nothing right in my teenage son’s eyes. He grills me about the distance travelled of each piece of fruit and every vegetable I purchase. He interrogates me about the provenance of all the meat, poultry and fish I serve. He questions my every move — from how I choose a car (why not electric?) and a couch (why synthetic fill?) to how I tend the garden (why waste water on flowers?) — an unremitting interrogation of my impact on our desecrated environment. While other parents hide alcohol and pharmaceuticals from their teens, I hide plastic containers and paper towels.
The mother in question, Ronnie Cohen, is a “freelance journalist in the San Francisco Bay Area” who writes about “social justice issues.”
And Andrew Stuttaford quotes Peggy Noonan on lofty border policies:
Rules on immigration and refugees are made by safe people. These are the people who help run countries, who have nice homes in nice neighbourhoods and are protected by their status. Those who live with the effects of immigration and asylum law are those who are less safe, who see a less beautiful face in it because they are daily confronted with a less beautiful reality — normal human roughness, human tensions. Decision-makers fear things like harsh words from the writers of editorials; normal human beings fear things like street crime. Decision-makers have the luxury of seeing life in the abstract. Normal people feel the implications of their decisions in the particular. The decision-makers feel disdain for the anxieties of normal people, and ascribe them to small-minded bigotries, often religious and racial, and ignorant antagonisms. But normal people prize order because they can’t buy their way out of disorder.
I spotted a not dissimilar attitude, albeit in a different context, while watching this BBC documentary on the preservation and listing of despised Brutalist architecture – specifically, the notorious Park Hill estate in Sheffield, which embarrassingly dominates the city’s skyline. Note the romantic enthusiasm of the presenter, architecture critic Tom Dyckhoff, for this locally infamous eyesore, which is known chiefly for muggings, prostitution and the joys of dodging objects hurled from upper floors. (Perhaps unsurprisingly, Mr Dyckhoff does not live in, or near, Sheffield.) Note too, around 18:25, the views of Martin Cherry from English Heritage, who airily dismisses the preferences of Sheffield residents and insists that the local population will eventually come to embrace this “demanding” and “difficult” piece of “progressive” architecture.
Feel free to share your own links and snippets in the comments. It’s what these posts are for.
In the U.S., elected local governments needn’t always defer to the tastes of their architecturally-trained betters.
Take for example the Orange County Government Center in Goshen, NY – considered a “masterpiece” of brutalist architecture by the likes of NYT critic Michael Kimmelman and the World Monuments Fund, who put it on their watch list alongside Macchu Picchu and the Great Wall of China. The problem was that the taxpayers of Orange County and their elected representatives weren’t so fond of the place, and grew tired of the expense of maintaining its “striking brutalist style” characterized in part by 87 flat, multi-leveled, chronically-leaky roofs.
Well, how dare they. Unlike NYC-domiciled Kimmelman, Organe County taxpayers didn’t understand that their government center, built at the public expense, “wasn’t designed to win a popularity contest.”
http://www.nytimes.com/2015/03/04/arts/design/clock-ticks-for-paul-rudolphs-orange-county-government-center.html?hp&action=click&pgtype=Homepage&module=mini-moth®ion=top-stories-below&WT.nav=top-stories-below
Fortunately, that argument didn’t cut any ice in the courts. Demolition was allowed to proceed this summer.
David!!! Just the sort of artwork you’ve been looking for!!!
PORTLAND, Ore. – A Portland artist’s unusual painting is making national headlines. . . . . . .
Columnist prone to errors, incoherence and glaring double standards doesn’t like comment sections
One minute we’re told women are being silenced, the next they give us a hundred mealy-mouthed justifications for censorship.
You’ve got to love feminists. There truly is nothing they say that they aren’t afraid to contradict the next day and say “that’s different” – the Golden rule of feminism.
‘The plaque also clearly portrays the human figures as white, and Stuart added: “I would be uncomfortable with sending out any images or messages that include Western-dominated material.”’
Actually the plaque portrays the human figures as gold as the plaque is made of gold or gold plated.
Any alien visitors might be disappointed.
“The plaque shows a man raising his hand in a very manly fashion while a woman stands behind him, appearing all meek and submissive,” she said. “We really need to rethink that with any messages we are sending out now. Attitudes have changed so much in just 40 years.”

The woman is clearly not behind the man. They are side by side (their feet are level).
She is not showing any signs of submissiveness – her head isn’t lowered, her hands are beside her side.
Those accusations are lies.
The looking “white” is in the eye of the beholder, but I remain unconvinced on that too.
The looking “white” is in the eye of the beholder, but I remain unconvinced on that too.
Good point, the guy looks a little Polynesian, and the gal a little oriental, but then we get into the whole body shaming thing, and the whole depilation business which smacks of cisheteropatriarchal imposition of beauty standards on the female unless, of course, radio waves have gotten to the aliens first, in which case they will conclude that these two are just porn stars.
Can’t argue with that.
“The looking ‘white’ is in the eye of the beholder, but I remain unconvinced on that too.”
It was the 1970s, not the 1870s. I’d be willing to bet that this argument was actually had at NASA during the planning stages, and that they’re supposed to be “racially neutral” or some such. FWIW, they look vaguely hispanic to me.
Brutalism is fine when it’s a fiction; sadly for some what worked as a film set (and probably the only thing about that film that worked) had to be endured in real life. Don’t get me started on the locations used for A Clockwork Orange, or we’ll be here all night.
Elsewhere, migrant and refugee mobs are spilling across the border from Serbia into Hungary, battering down walls, breaking gates, and attacking the police. The Hungarians have so far responded in what is really a very civil manner to an invading horde: tear gas, water cannons, no casualties.
The Serbian prime minister nonetheless had the audacity to demand of the Hungarians “stop firing tear gas into our territory”.
Chutzpah.
“Jeremy Corbyn’s hobby is photographing manhole covers. I jest not.”
I’d want to know more before mocking him: Some manhole covers are rather beautiful.
https://sites.google.com/site/manholecoversunited/japan
http://www.japanvisitor.com/japanese-culture/manhole-covers
Still, it’s a shame to pass up an excuse for mocking a commie.