Category: Politics (implicit)

Last week’s reading in the Official VM Book Club Of One was The Other Hollywood; this week it’s The Substance of Style, Virginia Postrel’s book on the value of aesthetic value, as it were. I just finished the third chapter, “Surface and Substance,” which ends with this passage:

When terrorists slammed two passenger jets into the World Trade Center on September 11, 200, Michael Bierut had his own moment of Nazis-to-Pepsi self-doubt. He was in London and returned home to Manhattan a few days after the attack. “As a designer,” he wrote me, “I am still reeling from the images of 9/11.” The act had been horrifying, but the images it created could not have been better designed: “The timing of the collisions, the angle of the second plane, the colors of the explosions, the slow-motion collapsing of the towers: could the terrorists ever dream how nightmarishly vivid this would be to the vast viewing audience?”

Amid the trauma of mid-September, this terrible juxtaposition — striking images in the service of death — recalled all the attacks ever made on surface for its own sake, and on the designers who create surface appeal. If an event so awful could look so vivid, even beautiful in a purely formal sense, how could we trust aesthetic pleasure? How could designers like Bierut justify their work, except when surface serves some grander substance? The attack, wrote Bierut, “makes me put meaningless content into beautiful packages. I will not approach my work the same way from now on.”

He knew better. The destruction of the World Trade Center was not a carefully composed movie scene, designed to around pity and terror within the same frame of fiction. It was the all-too-real muder of thousands. It was entirely substance. The attack was not packaging, not surface, not performance art. It had both meaning and political purpose. The striking images produced led viewers not to praise but to condemn the attackers who created them. Only those who embraced the murderers’ cause rejoiced in those images. Aesthetics did not prove a superweapon, justifying slaughter. To the contrary, the media images that followed were attempts to capture the events — and the horror and grief — of the day. Those images were valuable because they could say more than words. But the images were not the act itself.

In the horror of the moment, Bierut had forgotten the meaning and value of his work, falling into the puritanical mind-set that denies the value of aesthetic pleasure and seeks always to link it with evil. To wrap meaningless, as opposed to vicious, content in beautiful packaging does no harm. To the contrary, such creativity enriches the world and affirms the worth of the individuals whose pleasure it serves. Colas are not genocide.

Bierut soon had second thoughts. “One of the signatures of any repressive regime,” he wrote the following day, “is their need to control not just meaningful differences — the voices of dissent, for instance — but ostensibly ‘meaningless’ ones as well, like dress. It will take some time for people to realize that creating the difference between Coke and Pepsi is not just an empty pastime but one of many signs of life in a free society.” The Afghan women who risked the Taliban’s prisons to paint their faces and style their hair in underground beauty shops, and who celebrated the liberation of Kabul by coloring their nails with once-forbidden polish, would agree. Surface may take on meaning, but it has a value all its own.

Matt Welch, a contributing editor at libertarian magazine Reason, is now assistant editorial page editor at the LATimes. The paper required him to give a urine sample to help keep the LATimes a “drug-free workplace”. Those of you who know anytihng about libertarianism know how funny this is.

Yet it’s been company policy for at least 18 years that every new hire excrete on command while a rubber-gloved nurse waits outside with her ear plastered to the door. Those who test positive for illegal drugs don’t get their promised job, on grounds that someone who can’t stay off the stuff long enough to pass a one-time, advance-notice screening might have a problem. (And yes, it has happened in the newsroom a handful of times.) This despite the fact that we generally don’t operate machinery heavier than a coffee pot, aren’t likely to sell our secrets to blackmailing Russkies and are supposed to be at least theoretically representative of typical Americans.

Because guess what? The typical American — and just about every journalist I’ve ever asked — has already tried marijuana at least once before the age of 25, according to the government’s National Survey on Drug Use and Health. What’s more, despite 35 years and billions of dollars’ worth of taxpayer-financed propaganda to the contrary, most of those who’ve inhaled didn’t collapse through the “gateway” into desperate heroin addiction or “Traffic”-style sex slavery. George W. Bush turned out all right (at least on paper), as did Al Gore, Arnold Schwarzenegger, Bill Walton, Michael Bloomberg and millions more.

Welch’s plight reminds me of a great comic strip by Evan Dorkin, called (something like) “Ayn Rand in Hollywood.”

It’s a 3-panel strip. In panel 1, Rand is typing away at her desk. A production manager runs in and says, “The director says we need to cut 2 pages from the last scene.”

Panel 2 is wordless, with Rand staring into the distance.

In panel 3, she says, “Sure thing!”