By the mid-1970s, Britain was widely regarded – choose your favourite cliché – as the Sick Man of Europe, an economic basket case, ungovernable… In [1978] the year before Thatcher came to power, Britain, upon whose empire the sun never set, endured the Winter of Discontent. Labour unrest shut down public services, paralysing the nation for months on end… Rubbish was piled high on the streets of Britain that winter, and so, at one point, were human corpses. The Soviet trade minister told his British counterpart, “We don’t want to increase our trade with you. Your goods are unreliable, you’re always on strike, you never deliver.” This was what had become of the world’s greatest trading power.

From Claire Berlinski’s “There Is No Alternative”: Why Margaret Thatcher Matters, which I’m halfway through reading and enjoying quite a lot. It’s a brisk and witty reminder of what was at stake and how socialism can lead to extraordinary selfishness. It also has plenty of revealing incidental nuggets, as when Berlinski notes the feelings of some of Thatcher’s loftier enemies:

When asked why intellectuals loathed her so, the theatre producer Jonathan Miller replied that it was “self-evident” – they were nauseated by her “odious suburban gentility.” The philosopher Mary Warnock deplored Thatcher’s “neat, well-groomed clothes and hair, packaged together in a way that’s not exactly vulgar, just low,” embodying “the worst of the lower-middle class.” This filled Warnock with “a kind of rage.”

Claire Berlinksi is interviewed by National Review’s Peter Robinson, again in 5 parts:

1. Socialist winter.

2. How she did it.

3. Thatcher and Obama.

4. Turkey and Islam.

5. What’s a radical?

Glenn Reynolds also interviews Berlinksi here. (Registration required.)

Related: Tory! Tory! Tory! An excellent 2006 miniseries tracing the history and context of Thatcherism, the miseries it involved and the much greater miseries it avoided. Well worth viewing in full. The three episodes are embedded below in six parts: 

The emergency bra. A bra for emergencies. // How memory cards are tested. // Python digesting rat (interior view). // Jupiter’s Great Red Spot. // There’s a vortex on Venus. // Victorian submarines. // Bollywood + robots. // Puny human musicians, make way for GuitarBot. // Diamond-studded hoods, custom made for your falcon. // And girls should have costumes too. // The Foyn Johanson house. // Private jet interiors. // Chocolate artisans. // Maintaining high standards in Italian sculpture. // Logan’s Run in Lego. // “Yes, we call it the death ray.” (h/t, Stephen Keating) // And a little project for the family: Space Balloon.

“Sensitivity” is letting other people’s reactions to you decide your behaviour. So instead of choosing to do what you think is right and then defending it, you say something or try out something or listen to other people demand something… and try to adapt to that.

Peter Robinson talks with Harvard professor Harvey Mansfield about grade inflation, illiberal “liberals” and the state of academia. In five parts:

1. Leaning left.

2. A culture of self-criticism.

3. Everyone is excellent.

4. Diversity in all things (except of course in thought).

5. “Sensitivity,” indignation and the right to be agreed with.

At last, the bacon-scented tuxedo. (h/t, Mr Eugenides) // It’s probably best not to dunk your hand into liquid nitrogen. // Or into the beam of the Large Hadron Collider. // Beer crate architecture. // Sculpture by Alma Allen. // Rocks and fog. // For hardcore vinyl lovers. // Wine vending machines. // Things organised neatly. // Spray-on clothing. // The iPad Orchestra. // Projection mapping in Russia. // Persian portraits. // The price of weed. // Astroturfing malfunction. // A short history of asteroid discovery. // Hungover owls. // Happy owl. // H.G. Wells meets Orson Welles. (1940) // The grilled cheese underground.

I’m back, just about. While I get my bearings, here’s a handsome piece of time-lapse by Samuel Cockedey.

The music is by Woob, of whom more here.

The Guild of Evil™ will soon be relocating to a new and more fabulous lair. There are, therefore, umpteen boxes to pack and then unpack, incriminating documents to shred and phone lines to connect. For the next couple of weeks posting will be at best intermittent, most likely non-existent. So you may wish to subscribe to the feed, which will alert you to anything that materialises.

By all means rummage through the archives, the blogroll and the greatest hits. If you’re really stuck for something to do, you could always count the number of items in the index of ephemera, where you’ll find music and memories and strange obsessions, and things like this, and this, and this. And failing that, why not do something clever with a toilet roll tube?

There is no excuse for failing to feel liberal guilt about race and class.

There’s another one for the list. It’s the Guardian’s Theo Hobson. He’s embracing his inner sorrow and waving his credentials.

Liberal guilt is nothing to be ashamed of. It’s really just the political expression of that rather old-fashioned thing, conscience… To ‘suffer’ from liberal guilt means that you are somewhat uneasy about all sorts of awkward things that it is tempting to harden your heart against, like global injustice, global warming, racism… It means you sometimes worry that you might be prejudiced against all sorts of people.

All sorts of people. Well, not all sorts, obviously.

If this little parade of privileged anxiety fills you with derision, then you are a Tory. Rejection of liberal guilt is the very cornerstone of the Tory soul, the unofficial definition of Tory.

And hey, reducing those who disagree to a “Tory” caricature…

Well done, for turning up to banker school, or to that internship your uncle wangled

…in no way entails smugness or – God forbid – prejudice.

Despite Mr Hobson’s claims, rejecting “liberal guilt,” as manifest all but daily in the pages of the Guardian, doesn’t require an indifference to, or denial of, real injustice; merely a dislike of pretension and dishonesty, and a wariness of guilt being distorted into a pantomime and fetish – in which rhetorical self-harm is an assertion of superiority.

Omar Kholeif, whose plea for racial favouritism in the arts recently entertained us, is enthused by a project named Unrealised Potential.

The project features,

An expansive collection of proposals from a breadth of contemporary artists, writers, musicians and curators.

And how does it work?

The unproduced ideas are lined up in the first gallery, alongside a set of terms and conditions, whereby visitors are invited to purchase the artist proposals for ‘realisation.’ The setting adopts a similar structure to an auction space, where a red sticker is placed on each idea sold, with the purchasing ‘producer’ being offered two years to realise the project, before it returns to the marketplace.

Isn’t it just wonderful? And so terribly clever. Visitors to the exhibition get, 

The opportunity to purchase the right to interpret and realise an artist’s idea.

An artist’s idea. Oh fortune, she smiles upon us. Think of it as a remix, but with no original recording, or demo, or evidence of talent. Apparently, this constitutes,

Critical and, at times, contradictory commentary about the commercialisation of the arts.

And not a cheap and derivative hustle. Why, the very idea.

Some readers may recall the ICA’s Publicness exhibition of 2003, which – in ways never quite specified – “interrogated globalisation” and “notions of the public realm.” The exhibition’s four-page press release promised the thrill of “proposals for projects that may never be realised.” In other words, the artists were so heady in their conceptualism they could short-circuit the tiresome business of actually making or finishing anything, and could instead be acclaimed – and paid – simply for airing “proposals.” One almost had to admire the efficiency. After all, it saved everyone – especially the artists – a great deal of time and trouble. Though you can’t help wondering how the artists would have felt had the audience adopted a similar approach to visiting the ICA: “Let’s not bother going and just pretend we did…”

And lets not forget the non-existent giant flying art banana, a theoretical masterpiece that cost Canadian taxpayers over $130,000 and which, had it materialised, would have said something unflattering about the previous incumbent of the White House. Because, hey, artists are just so goddamned edgy.

But back to Mr Kholeif and his keen curatorial insights:

The very act of potentially encouraging complete ‘amateurs’ to consider the delivery parameters of such creative output offers audiences an insight into the graft and expertise required to produce a successful creative project, while simultaneously reminding them of the risk involved… What is worthy here is this notion of process: audiences are granted the privilege of witnessing the multifarious facets of an artist’s psyche.

You heard the man. It’s a privilege. Well, having climbed the heights of Mount Vanity, let’s bask in the glow of that creative lava stream, shall we?

Bellies. // Jet trains. // China’s 10-day traffic jam. // High-rise tennis court. // Tornado plus fire. // Norway’s Svalbard Science Centre. // Superpowers. // Post-apocalyptic Tokyo. // Prague panorama. // Ninjabread men. // Nuclear icebreaker Lenin. // Building the Statue of Liberty. // Long exposure fireflies. // The perils of working from home. // Octopus kites. // Orson Welles’ Dracula (1938) and other radio dramas. // “The United States may be using climate-change weapons.” // Wireframe motorcycle. // Earth and Moon photographed at a distance of 183 million kilometres. // Bee. // Get groovy with the Houseplant Picture Studio. 

The crested black macaque photographed by Stefano Unterthiner.