Chris Snowdon on booze, sponsorship and publicly subsidised temperance zealots: 

With tiresome predictability, Alcohol Concern says this must all be done for the sake of “children.” There is, it seems, no interference into adult pastimes that cannot be justified in the name of those who are prohibited from engaging in them. For the moral busybody, all the world is a crèche.

Peter Wood ponders the bean-counting world of campus gender equity: 

To be “representative of the student body,” approximately 55% of the 52 Title IX Coordinator positions should have been held by women. But in our sample, 83% are held by women. Likewise, women appear overrepresented in the staff positions of the relevant campus offices, but the level of overrepresentation was less than for the top positions (73.1 percent of the positions are held by women). Considering that the overwhelming preponderance of sexual harassment allegations are directed by women at men, the disproportion of women to men in the positions charged with interpreting and enforcing the sexual harassment rules is a legitimate concern. Are male students who are accused of sexual harassment likely to receive fair-minded treatment in these offices? 

Mark Bauerlein* on do as I say not as I do:

When white male President Mills pledges to press for race-based affirmative action, the right reply is this: “Well, then, sir, you must resign your post immediately and call for Bowdoin to hire a racial or ethnic minority in your place.” Keep it simple and direct. Every white male board member of the ACE should receive a message to step down. Let’s ask white male campus leaders to stand up for their own principles and do the thing they want everybody else to do. When white women acquire a disproportionate number of jobs in campus leadership, yet still call for more diversity, they, too, should be asked to withdraw. This is the logic of affirmative action, and if diversity proponents who are white follow it to its conclusion, they should relinquish their positions as soon as possible. 

Jennifer Kabbany notes the difficulties of gendered nouns:

The University of Leipzig has voted to adopt the feminine version of the word for ‘professor’ as its default. In German, professorin refers to a female professor while professor is the male equivalent. Under the new measures, written documents will use the term Professorinnen when referring to professors in general. A footnote is to explain that male professors are also included in the description. Physics professor Dr Josef Käs suggested the change as a joke because he was becoming weary of extended discussions about gendered language. To his surprise, the university board voted in favour of the idea.

And Theodore Dalrymple on jihad, entitlement and Michael Adebolajo:

It is not true that the society in which he lived offered him no opportunity for personal betterment. Adebolajo was for a time a student at Greenwich University, graduation from which, whatever the real value of the education it offered him, would have improved his chances in the job market, especially in the public sector. But it was at the university that he encountered radical Islam, that ideology that simultaneously succours people with an existential grudge against the world and flatters their inflated and inflamed self-importance. It also successfully squares the adolescent circle: the need both to conform to a peer group and to rebel against society.

As usual, feel free to share your own links and snippets in the comments. [ *Added, via Rafi in the comments. ]

After that unpleasantness, let’s elevate the tone with some art, shall we? Cleanse the palate, as it were. A reader, Don Frese, has found just the thing: 

Difficult territory is a cornerstone of the visual arts – so artist Mikala Dwyer knew it would be confronting last night when she invited Balletlab dancers to empty their bowels as part of a performance at the Australian Centre for Contemporary Art.

There we go. 

The two-hour act saw the six dancers, masked but naked beneath sheer garments, move around a room in the gallery before sitting on transparent stools and performing – only if they were moved to do so – what is usually one of our most private and rarely discussed daily acts.

Now take a deep breath and steady yourself because it’s all very daring, what with all the transparency and nakedness and bodily functions. We’ve never seen anything like that before. Never. Not ever. And you can tell how daring Ms Dwyer’s art is because the venue director says so:  

ACCA director Juliana Engberg said the centre exists to support each exhibiting artist’s vision. “Of course, contemporary art is sometimes very challenging, but ACCA’s role is to work with challenging ideas,” she said. 

Yes, it’s challenging, very challenging. After all, it must be challenging – otherwise it would just be, erm, fatuous and juvenile. And that can’t be the case. Heavens, no. Being, as she is, so enlightened and so much better than the herd, Ms Dwyer’s excremental transgression will no doubt rattle the bourgeois rube and blow his tiny mind. Though in an age when just about anyone, even a bourgeois rube, can watch Two Girls One Cup on their smartphone while at work, eating lunch, inducing those fits of pearl-clutching ain’t as easy as it was. What’s a challenging artist to do? Well, she must tunnel even deeper into the aesthetic fundament: 

“When Mikala brought this idea of a performance and film dealing with material transformation and ritual to us, we evaluated it as a key and bold move in her practice, one that links to a long artistic legacy looking at alchemical transformation and magical performance. The work, while challenging taboos, never becomes sensational or gratuitous. It’s wonderful, powerful work.”

Of course it’s not just about being bold and challenging, or those “alchemical transformations.” It’s about politics too:

Dwyer said the one-off performance was not designed as a mere shock tactic. Rather, she hoped ACCA visitors would think and talk about something we have been socialised to consider dirty and shameful, and have historically hidden from view, even though it is perfectly natural. In turn, they might transform other institutionalised ideas about the world.

Yes, transforming the world. By watching people shit.

Ms Dwyer’s mighty work can be savoured in full at the Australian Centre for Contemporary Art, Melbourne, until July 28. 

It’s time you philistines were subjected to rewarded with some cultural improvement. It’s for your own good, so I won’t have any complaining.

First up, here’s a little something for the diary:

The first collaboration between tattooist and fantasy artist Loren Fetterman and performance artist Stefanie Elrick, Written in Skin will see the stories of an international group of strangers [being] ‘blood-lined’ across the entirety of Stefanie’s body in one sitting. ‘Blood-lining’ is a semi-permanent form of tattooing without ink, the results of which are akin to scratches visible for weeks that gradually heal and disappear. Literalising the emotional marks we inflict and receive through experience, then transforming them into a customised piece of body art, this project explores vulnerability, intimacy and the regenerative process of love.

It explores. But of course. Oh, there’s more.

As the skin begins to restore itself the following weeks, photographer Jamie Alun Price will document the healing process via an online picture diary.

Written In Skin will be, um, performed at the Cornerhouse Annexe, Manchester, Sunday May 19th, between 11am and 5pm. 

Readers with £15,000 to spare could also consider rewarding artistic greatness by purchasing a pleated white dress, briefly worn by a happening pop artiste named Lady Gaga, and vomited on by the performance artist Millie Brown. Ms Brown’s colossal vomiting works will no doubt be familiar to our regulars.

And those with a taste for even more daring and challenging work may prefer the theatrical stylings of Mr Ivo Dimchev, a “radical performer” acclaimed for his “gripping sensitivity” and whose performance piece I-ON “explores” the “provoking functionlessness” of various objects, before showing us “how to make contact with something that has no function.” Readers are advised that the aforementioned contact-making, which was performed as part of the 2011 Vienna International Dance Festival and is shown below, inevitably includes vigorous self-pleasure with what appears to be a wig: 

This is an extraordinarily, absolutely, uniquely cohesive political entity and society… I’ve been there. I’ve seen it up close and personal… They do have a satellite circling the Earth. They do have a cohesive, pristine, innocent culture. A culture that has not been penetrated by globalisation and by Western mores… I’m much more afraid of the United States of America and so are most people in the world.

Noted bedlamite George Galloway praises that “courageous” stronghold of purity, North Korea. 

For newcomers, more items from the archives.

Spanking One’s Own Arse. 

The woes of being leftwing and insufficiently black.

One needn’t be a cartoon Tory to marvel at Decca Aitkenhead’s classic Guardian piece Their Homophobia is Our Fault, in which she insisted that the “precarious, over-exaggerated masculinity” and murderous homophobia of some Jamaican reggae stars are products of the “sodomy of male slaves by their white owners.” And that the “vilification of Jamaican homophobia implies… a failure to accept post-colonial politics.” Thus, sympathetic readers could feel guilty not only for “vilifying” the homicidal sentiments of some Jamaican musicians, but also for the culpability of their own collective ancestors. One wonders how those gripped by this fiendish dilemma could even begin to resolve their twofold feelings of shame. It’s important to understand these are not just lapses in logic or random fits of insincerity; these outpourings are displays – of class and moral elevation. Which is why they persist, despite getting knottier and ever more absurd. Crudely summarised, it goes something like this: “I am better than you because I pretend to feel worse.”

On Fungal Matters.

A black man buys truffles. The Guardian is thrilled.

This “new kind of spending” – buying overpriced fungus – is much more radical than buying Rolex watches, ostentatious cars or cases of Cristal champagne. It’s a thrilling development in “black identity.”

Dealing with Impurities.

Academic Wrongthought™ and the narrowing of minds.

A study of 24,000 students conducted by the Association of American Colleges and Universities in 2010 revealed that only 30.3% of college seniors strongly agreed with the statement that, “It is safe to hold unpopular opinions on campus”… The students were downright optimistic compared to the 9,000 campus professionals surveyed. Only 18.8% strongly agreed that it was safe to hold unpopular opinions on campus… As the sociologist Diana C. Mutz discovered in her 2006 book Hearing the Other Side, those with the highest levels of education had the lowest exposure to people with conflicting points of view, while those who have not graduated from high school can claim the most diverse discussion mates. In other words, the most educated among us are also the most likely to live in the tightest echo chambers.

It’s Politically Radical Sex, Not Ordinary Mortal Sex.

Meet Ms Nadio Cho: student, titan, radical shagger.

“It’s best to have some empty shelves toward the bottom so that you can climb them and feel like Spider-Man while your partner penetrates you standing up.”

Just Don’t Call It a Hustle.  

Know your place, peasants.

My local publicly-funded galleries of contemporary work, one of which is a glorified coffee shop for two dozen middle-class lefties, can be relied on to disappoint – and to go on disappointing – precisely because there’s no obvious mechanism for correction. No box office takings to fret about, no bums on seats, no ghastly commercial metrics need be considered. And so the featured artists, or pseudo-artists, can expect taxpayers to serve as patrons, whether they wish to or not, while being immune to the patron’s customary discrimination between promising art and opportunist flim-flam. The expectation that one must be exempt from base commerce, and by extension the preferences of one’s supposed audience and customers, is an arrangement that rewards and encourages the peddling of drek. Yet Liz Forgan and her Arts Council associates would have us believe that an interest in visual culture, music, etc., should coincide with an urge to make others pay for whatever it is that tickles you, or for whatever is deemed to improve the species by Liz Forgan and her colleagues, i.e., People Loftier Than Us.

Update: In light of today’s news, this seems relevant:

Wounds Sustained, Oblivion Avoided. 

Claire Berlinski on Margaret Thatcher and her 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.”

There’s more, so much more, in the greatest hits. And patrons are reminded that this rickety barge is kept afloat by the kindness of strangers.