“On your interest in young men, particularly on the young male in Western societies… I think that’s your focus – I think it’s fair to say that your focus is on how men feel in society…”

“No, I don’t think that that is my focus…. I think the fact that what I’m doing is being construed in that manner is a consequence of the overwhelming influence of identity politics on our political and philosophical discourse. What I’m doing is constantly being viewed as a manifestation of identity politics, and so people talk about my particular attraction for ‘young white men.’ The audiences that come to see me – and I hate to even categorise them in this manner because it’s part of playing the same game – are very diverse ethnically and with regards to gender. The problem is that the way that our discourse is framed right now, it’s impossible to avoid being shunted into an identity politics box. And I think there’s nothing about that that isn’t reprehensible.”  

“You sound quite angry.”

The Economist’s Anne McElvoy interviews Jordan Peterson.  

The interview is by no means a Cathy Newman-level car crash, and is at times quite interesting; but it does, I think, tell us more about the assumptions of the interviewer, and by extension her peers, than those of the person being interviewed. For instance, about 43 minutes in, Peterson mentions sex differences in antisocial behaviour, and the types of bullying that tend to be favoured by women more than men. This is met with disbelief and indignation, as if this rather obvious and unremarkable phenomenon – the differing ways in which men and women tend to express aggression – were some kind of scandalous affront to womanhood, something one shouldn’t acknowledge, and indeed should lie about.

A quick test. Can you guess the occupation of the person quoted below? 

OK, officially, I now hate white people. I am a white people [sic], for God’s sake, but can we keep them – us – out of my neighbourhood?

Yes, once again, via Facebook, an educator speaks. Specifically, Rutgers University history professor James Livingston, following a visit to the Harlem Shake burger restaurant, which was, in his words, “overrun with little Caucasian assholes who know their parents will approve of anything they do.” In this case, the children of unsightly and problematic pallor were sliding on the floor and singing loudly. Activities that no brown-skinned child has ever indulged in, and which, naturally, the professor felt obliged to racialize:

Slide around the floor, you little shithead, sing loudly, you moron. Do what you want, nobody here is gonna restrict your right to be white.

And nothing enhances the purchase of a burger quite like a crescendo of racial animosity:

I hereby resign from my race. Fuck these people. Yeah, I know, it’s about access to my dinner. Fuck you, too.

While the professor claims that his vehement dislike of white people, and especially white children, is only now official, readers may arrive at their own conclusions. “I just don’t want little Caucasians overrunning my life,” the educator subsequently explained: 

Please God, remand them to the suburbs, where they and their parents can colonize every restaurant, all the while pretending that the idiotic indulgence of their privilege signifies cosmopolitan — you know, as in sophisticated “European” — commitments.

So, to recap. Our white-and-woke educator is upset, one might say fuming, that white people – other white people, that is – are “colonizing” his neighbourhood. Unlike him, you see, those other white people are privileged and indulged, and presumably crawling with mites. And unlike him, they should be remanded to the suburbs, where they belong.

Oh, and by the way, here’s Jelena Pasic, the Croatian-born owner of the restaurant in question. Readers are invited to speculate as to how Ms Pasic might feel about some neurotic, racist wanker trying to shame away her customers.

Update: 

The gallery says Lee Bul’s famous artwork Majestic Splendor (1991–2018) caught fire while it was being removed from the exhibition. Majestic Splendor is composed of sequin-covered rotting fish. When it was shown in 1997 at New York’s MoMA, it had to be removed as the smell made visitors feel sick. For the Hayward show, the fish were placed in potassium permanganate. Although it is not flammable, the chemical does increase the flammability of other combustible materials. On receiving advice, the gallery decided to withdraw the artwork, but it spontaneously combusted mid-removal.

However, “only minimal damage” was inflicted by the self-destructing art, the pre-destroyed magnificence of which can be savoured in detail here. 

Via Julia. 

Classy lady of note. || In coffee-related news. || Thriller, deconstructed. || This is not drawing. || A robot that draws on walls. || Because you’ve always wanted one. || The cost of lowered standards. || The British at play. Yes, we all do it. || Footpath of note. || A famous fibreglass foetus. || Monolith action figure. “Zero points of articulation.” || It’s a suitcase and a mini-kitchen. || It’s a pocket knife, a bottle opener, and a pivoted USB stick. || New York, seen from above, in very high definition. || Snake attack. (h/t, Julia) || Ten hours of ocean creatures. || Camel versus cactus. || Excuse of note. || This. (h/t, Dicentra) || The Einstein Theory of Relativity, 1923. || Please stop noticing reality. || Meet the robots of Ocado. (h/t, drb) || And finally, a size-conscious twister overcompensates.

Following a number of enquiries as to why I don’t have a specific tag for items involving the cartoonish Laurie Penny, I thought I’d compile a few of my posts on the British left’s foremost unreliable narrator. It’s necessarily incomplete – there are several short posts and endless, lengthy comments I haven’t included – but it should convey a flavour of Laurie’s intermittent relationship with reality, her ongoing struggles with logic, and her delightful personality.