Showing posts with label Culture. Show all posts
Showing posts with label Culture. Show all posts

13 January 2016

Bowie, Briefly.

My response to David Bowie's death may be melodramatic and some might say frivolous.

My partner woke me at 05:45 on Monday, 12/11/16 to tell me that Bowie had died; immediately, I fell into the grief-pit. I began sobbing, and I spent a significant chunk of the day weeping.

My response has several components. Much, of course, is sincere mourning for a deeply valuable human being and artist. There is, as well, nostalgia and an awareness of my own mortality. However, I think the majority of it may be that Bowie's death "triggered" my widow's grief.  While I was crying for Bowie, I was also crying for my late husband. 

I'm working on a longer piece about Bowie's significance "to me" (because, you know, we don't have enough of those just yet), but I wanted to mark his passing now. 

Thank you, Mr Jones, for all that you've given. Your work (in art, music, film, fashion) has impacted our culture profoundly. I will miss knowing that you're in the world.

25 March 2013

Howard Zinn, Ideology, and Faulty Scholarship

It's a day (and night) for grading papers, so I'll put this here: part review of a biography of Howard Zinn, and part critique of Zinn's career, David Greenberg's "Howard Zinn's Influential Mutilations of American History" in The New Republic (hardly a bastion of traditionalism or of conservatism). I appreciate Greenberg's approach to revisionism such as Zinn's: he calls out Zinn's willingness to castigate the USA's actions and ideologies while ignoring or minimizing other nations' cruelties--his silences on the brutalities of Soviet Russia, and so on.

Of Zinn's scholarship in A People's History of the United States, Greenberg says:
Zinn rests satisfied with what strikes him as the scandalous revelation that claims of objectivity often mask ideological predilections. Imagine! And on the basis of this sophomoric insight, he renounces the ideals of objectivity and empirical responsibility, and makes the dubious leap to the notion that a historian need only lay his ideological cards on the table and tell whatever history he chooses.
Lord, but I have heard this methodology set forth by undergraduates in courses past: "as long as I identify my point of view and find sufficient quotes that seem to lend authority, my work is done." Rather than reasoning and sound evidence that reflects a thorough consideration of the issue, support becomes a quote-hunt, the results of which are often cherry-picked, redefined, and decontextualized.

Don't such arguments (aligned with specific ideologies, supported with cherry-picked evidence)  become non-arguable? Rather than dealing with reason, we deal with emotion and belief--and one can't really (fairly) argue with feeling or faith.

It's tempting to go on and to develop, somewhat, these initial thoughts, but I have yards of paper to read before I sleep.

Aside: Apparently Ralph Ellison didn't think much of Zinn's scholarship. Who knew?

24 March 2013

Marinetti's Manifesto (link)

The Futurist Manifesto, by F. T. Marinetti, is online!




Marinetti wrote this baby in 1909 to announce a break with traditional artistic conventions. Here are the Manifesto's bullet points:
  1. We want to sing the love of danger, the habit of energy and rashness.
  2. The essential elements of our poetry will be courage, audacity and revolt.
  3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.
  4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
  5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
  6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
  7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.
  8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.
  9. We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.
  10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

  11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds. 
Sounds a wee bit fascistic, yes? But then, Marinetti was one of the early supporters of Mussolini.

For me, this document's significance--beyond historical value-rests in its influence on Pound, Lewis, et. al. who created Vorticism as a response to/variation on Futurism. This work also influenced L'arte dei Rumori (The Art of Noises), by Luigi Russolo, which, in turn, had a profound influence on 20th century music (more on that another time--when I have the time and energy to laud Pierre Henry, Steve Reich, et al).

Anyway, just sharing.

23 March 2013

Pierre Henry


I love this man. Genius of Musique Concrete and grumpy old guy. There is a great documentary out on him, Pierre Henry: The Art of Sounds, which is quite entertaining. I recommend it if you're intrigued by the post-war avant garde or just interested in how an innovator of mashups/sampling/electronica/noise continues to do his thing in his 80s.



22 March 2013

"Militants" Life Magazine, 1913

On March 3rd, 1913, people from around the nation collected in Washington DC for the Woman Suffrage Parade. At least five thousand people joined together to "march in a spirit of protest against the present political organization of society, from which women are excluded" (LOC). Many participants concluded the march successfully; many were taken to hospital because of onlookers' violent behavior:
Women were jeered, tripped, grabbed, shoved, and many heard “indecent epithets” and “barnyard conversation.” Instead of protecting the parade, the police “seemed to enjoy all the ribald jokes and laughter and part participated in them.” One policeman explained that they should stay at home where they belonged. The men in the procession heard shouts of “Henpecko” and “Where are your skirts?” As one witness explained, “There was a sort of spirit of levity connected with the crowd. They did not regard the affair very seriously.” (LOC)
The cartoon below, from Life Magazine's issue of 3/27/1913, just weeks after parade, reflects the march's onlookers' perspective (click for larger view/to read captions):






















Aside: as an undergrad, I found this cartoon in an oversize sourcebook of feminism's history. If I'd have known then that one day I'd share a Xerox of this document with the world...anyways, I've been packing this around for nearly 30 years. Enjoy.


21 March 2013

The Happy* Adjunct

* for now

What follows is a Twitter session from a few weeks back. I wanted to share it with a wider audience primarily because there is intense pressure on academics to continue in academia; in fact, if you're in a PhD program, chances are that you're only "trained" for a career in academe--specifically, in a tenure track job. We know, however, that universities continue to rely on adjuncts for teaching rather than extending/adding  tenure lines. Michael Bérubé, the MLA president of 2012-13, notes that, "contingent faculty members now make up over 1 million of the 1.5 million people teaching in American colleges and universities." If you leave your degree program expecting to find a FT/TT position, chances are you'll be disappointed. Devastatingly so.

Many of my friends IRL, and many people I "know" via social media, are teachers and scholars. I see them--whether degree candidates, Post Docs, or PhDs who've been on the market for three, four years (or more) tear themselves up and make themselves ill (really!) because of the jobsearch. They fight to find open tenure positions, fight to be hired, and fight to achieve tenure. The process is demoralizing at the very minimum. Yet when asked "why not turn your sights from a tenure placement," several reply that it's what they've been prepared for. There's an institutional expectation that PhDs (especially in the humanities) will go on to tenured positions, so it's kind of scary to turn from that. It's also scary because turning away from tenure also means turning away from the securities and benefits that tenure offers. 

I opted against seeking a tenured job, but I didn't want to leave academia. I love teaching, and I love being around people who ask questions for a living. I opted to work as an adjunct, and, at this point anyway, I am a happy one. What follows explains my choice to abandon the TT dream and why I still think it's a good decision:





(reason #2)




It's true: there are variations in how institutions treat adjuncts. My current school pays me well (not exceptional, but significantly better than previous jobs). I have some benefits. I have an office. I am treated as a member of the department rather than as an interloper. Please note:
     2) My experience is not the norm. 
     3) Adjuncts are, in general, treated horrifically.
In the position I held prior to the one I Tweeted about, I was paid approximately $10.00 an hour. I had no office, so no space to meet students, to hang my coat, or to store student papers (I still have stacks of them at home waiting for the deadline when I can remove them). Adjuncts were not invited to department events (excepting the “adjunct appreciation lunch” at the beginning of  Fall term), and a strict division existed between full-time/tenured and contingent faculty. And, of course, benefits did not exist. I was poor, isolated, and overworked/underpaid--this experience is common to an adjunct. Groups have organized to combat that mistreatment and exploitation of contingent faculty, and chief among these is  New Faculty Majority. Check it out.

Country Roads.



 Let me talk about music (some more)
While growing up, my exposure to music was limited. 

            My family didn’t have wide-ranging tastes. My mother collected LPs by standard artists: Elvis (Blue Hawaii, Gold Records, and 50,000,000 Elvis Fans Can't Be Wrong: Elvis' Gold Records – Volume 2), Gene Pitney (Greatest Hits), 101 Strings, and Henry Mancini. My grandparents had Sinatra (Sings for Only the Lonely and Ring a Ding Ding—still my favorite Sinatra album), and a multi-volume Time-Life classical collection. Mind you, no one ever seemed to listen to these albums; they collected dust.

             One Christmas, my grandmother presented me with a Mickey Mouse turntable and a few soundtracks from Disney animated films. I listened to those LPs until they popped and jumped, as LPs were wont to do, and then I moved onto the grown-ups’ records. I believe I was the only child in town who went about singing “A Foggy Day” under her breath. In contrast, my classmates were talking about Sweet’s Desolation Boulevard. I had no idea who Sweet might have been, and I certainly had no access to the LP (and Lord, by the time I heard my classmates talking about Desolation Boulevard, it must have been five or six years old). Someone wither inherited the album from an older sibling or they discovered it somewhere in “the city.” 
       Radio-wise, we lived in a mountain-bound community where one AM radio station held sway; FM was non-existent without fancy equipment to help capture stations from 100 miles away. This radio station, based in Idaho’s Silver Valley (which I think was KWAL), operated only between 5:00 AM and about 7:00 PM daily. It played a blend of farm reports, news updates, Paul Harvey commentaries, and country/pop hits (for example, I remember hearing both Lyn Anderson’s “I Never Promised You a Rose Garden,” John Denver's "Take Me Home, Country Roads," and Wings’ “Uncle Albert/Admiral Halsey”). Essentially, you can say that while children elsewhere had the option of spinning a dial to discover radio stations offering different genres, I had what was pretty much a news station that played music, rather anodyne music, as filler. I did gain an appreciation for Paul Harvey that continues to this day.

20 March 2013

Let Me (Start) Talk(ing) About Music For a Bit...

Last night I attended a show at the Keswick Theater in Glenside, PA (just outside of Philadelphia), which shook me in its intensity, its energy, and its theatricality. Sharon Van Etten opened the show; Nick Cave and the Bad Seeds headlined. Van Etten received a warm (if not always enthusiastic) response from the audience*; Cave and the Bad Seeds? The audience gave them a thunderous response throughout/

I was struck by this rapturous audience's makeup: many people older than me, sure (Cave himself is 55), but people younger (some much younger) than me made up a significant part of the crowd. How did these adolescents and young adults discover Cave and musicians like him, e.g., unconventional or non-mainstream performers? In the Internet age, it seems a foolish question, true. Really, though, isn't the answer the same as ever? Musical discovery, and the development of taste, is determined by environment and technology.

Contrast someone raised in a small, homogeneous community with limited resources with someone raised in a city like Philadelphia, with its diverse musical history and wealth of radio stations. In the latter, it's a no-brainer that you'll be exposed to music of all genres. Add the Internet, a primary source for music for at least 15 years, and the problem becomes one of filtering what's good rather than trying to find music at all.

My experience has been vastly different from that of the average Millennial, and I'm sure it's an experience that people born before 1985 or so could relate to, especially if they were raised in a small, rural communities. so I am going to talk about that in a series of posts (that's the plan, anyway). A musical biography, if you will. If your experience is similar, feel free to chime in with your own anecdotes and memories.

And if you have a chance to see Nick Cave and the Bad Seeds' tour? Do it. Don't think. Don't consider, simply do it. You'll be well rewarded.

* Van Etten noted that she wasn't Nick Cave more than once, and at one point said she had "only two more songs" before the Bad Seeds would come on. Apparently, someone in front commented on this remark: Van Etten relayed that "the girl dressed like a princess says 'yeah!' [and to the girl in question] "Good to see you again."  Take from that what you will.

Let Me Talk About Music for a Bit

My greatest hits from childhood, all played on one of these: 






28 November 2012

Freedom of Speech, 2012-Style

Over at Foreign Policy, Lee C. Bollinger offers a review of concerns about freedom of speech in 2012; he finds governments and corporations" that have struggled to silence individuals pitted against "ordinary citizens and activists" who insist on speaking their minds. Although there have been numerous crackdowns by said "governments and corporations," people, aided in no small way by technological advances (e.g., smartphones), decline to just hush up, which bodes well, in the long run, for freedom of expression.

08 May 2012

Maurice Sendak, RIP.

(sadface)

The author, illustrator, and cultural icon passed away today at the age of 82. Here's a video of Christopher Walken reading and commenting on Sendak's best-known work, Where the Wild Things Are.

23 April 2012

Overheard this weekend:
young man (about 15 years old or so): "Every French word means 'surrender.'"
I have no context for this quote. I've also never seen/heard someone so young snark on the French.

10 October 2010

Crybaby Culture

I missed this, but a few weeks ago This American Life dedicated an episode to revealing the current trend of public whining in America.

The show, available online, includes contributions by Dave Weigel (on the politics of victimhood), Adam Davidson (on bankers' complaints after they've benefited from government largess), Alex Bumberg (on basketball's "the flop"), Alex MacInnis (on folks who make a living suing businesses incongruent with the ADA), and David Sedaris (who provides a fable).

Teh all-around awesome.

03 October 2010

The Paranoid Style--Redux

"the spokesman of the paranoid style finds [the hostile and conspiratorial world] directed against a nation, a culture, a way of life whose fate affects not himself alone but millions of others." -- Richard Hofstadter
In The National Journal, Paul Starobin explores the re-emergence of an arch-conservatism akin to The John Birch Society (famously, the leader of that group asserted that Dwight D. Eisenhower was "a dedicated, conscious agent of the communist conspiracy"). Conspiracy theories about an imminent Communist coup-from-within provided the bedrock of that nativist association. Similarly, The question of "who is an American" has run throughout our political discourse recently. Conservative luminaries, including Newt Gingrich, have roused suspicions against President Obama by identifying him as "Kenyan," and opportunists (both political and commercial) take full advantage of people's anxieties by reciting unconfirmed claims (beheadings in the Arizona desert), amplifying far-fetched "what if" scenarios (sharia law replacing our current legal system), and insinuations that Caucasians' rights are floundering under the presidency of a bi-racial man. Certainly, a national paranoia seemed to reach a boiling point over the summer with the accusations of varying degrees of anti-Americanism targeting supporters of the Park51 development, legal and non-legal immigrants (and their children), and so on.

Starobin's argument about the contemporary "nativist agenda" certainly rings true. Triggered by 9/11 and the financial meltdown, people have grown paranoid. People clamor that they "want their country back" without defining what that might be. Yet these groups, Starobin suggests, will be met by a re-emergent Radical Left, similarly energized by recent events . . . and then? Who knows. Of course passions will ease, suspicions will recede, but we will have changed. Anyway, I recommend highly Starobin's "The Radical Right Returns," for a solid, and dispassionate, historical overview and analysis of "the paranoid style" in contemporary political discourse.

19 September 2010

A Petty Quibble

While reading arguments over who has experienced worse treatment at the hands of America's political partisans, George W. Bush or Barack Obama (a fairly childish argument in and of itself), I commonly see references to a "snuff film," a "liberal assassination fantasy" about President Bush, with the implication that American leftists were responsible for it. Not so.

That film, titled Death of a President (2006), was not, as is often believed, a product of the "professional left." It was not produced in the United States nor by an American citizen. It is a British film, with a British director, British writers, and British financing.

Like this post's title indicates, it's merely a petty quibble, and my wish here is to clarify.
Cheers

22 June 2009

Getting Medieval at 3 A.M.

So I'm at the OED online looking up "medieval" as an adjective to check its usage history (for a project), and I find this:
b. U.S. to get medieval: to use violence or extreme measures on, to become aggressive.
1994 Q. TARANTINO & R. AVARY Pulp Fiction 131, I ain't through with you by a damn sight. I'm gonna git Medieval on your ass. 1996 Rolling Stone 13 July 85/3 And with the metal-on-metal grinding and old-school synth whoops..Faust and O'Rourke really get medieval. 1999 Washington Post 9 May F1, I have no idea why we're talking about sending ground troops to Kosovo when we can send a fleet of Ford Expeditions and Lincoln Navigators over there. What's Milosevic going to throw at them--Yugos? These things will get medieval with Yugos. 2000 N.Y. Times 5 May E8/1 The teenage crowd screamed and cheered--but only when Macbeth got medieval on someone.

Maybe it's just me being up at three a.m. and all, but I find this--and the illustrative quotes--hysterical. Pulp Fiction in the OED? C'mon. But I'm happy to know that teenagers are whooping it up at a performance of Macbeth (rather, they have done in the past ten years).

Aside: sometimes I hate that I can get the OED is online. It's too easy. My beloved bought me a (used) copy of the two volume compact. I love it, and I enjoy the whole magnifying glass thing like crazy, but I tend to use it as a place to pile bills more than anything else. Pathetic.

10 June 2009

MS Yoda & English Word # 1,000,000

Here's a weird, and annoying, aside: Microsoft Word has gone all little-green-pointy-eared-master on me. It keeps tying to correct the phrase:

“What am I to do”
to
“What to do I am”

Fairly aggravating (this is just one example. Either Word's folks are jokers, unreasonably obssessed with Star Wars, or they're unfamilair with basic English grammar).

On another note: people who watch these sort of things (that would be Global Language Monitor) are anticipating the upcoming one millionth English word. Seriously? The millionth is coming just now? Woo hoo!

06 April 2009

Wrath and Weeping

"FEMA camps," "a usurper president," "gun bans," "fascism," "socialism," "a one-world currency," "the end of our way of life."

There's been an explosion of fear and paranoia that seems to emerge from the 'blogosphere and makes its way to talk radio, to televised talking heads, to state legislators and, finally, to the U S Congress--wild rumors thereby gain a sheen of legitimacy each step along the way and gradually become "conventional wisdom" and intensify the paranoia. Sadly, this free-floating fear is driving an increasingly ugly rhetoric of revolution, of insurrection. Even more sadly, there are people who appear to thrive off of the panic and prove only too eager to encourage it. Certainly, there might be a short-term payoff for such folks (money, celebrity, etc.), but I wonder--what happens when it turns on them? And it will. It always does.

Later: So we discover that the Pittsburgh shooter was a conspiracy theorist and a Stormfront regular. Yes, he was insane for opening fire on innocents, but what kind of "encouragement" had he been receiving? For an answer, you might want to visit The Washington Independent. Journalist David Weigel spent Saturday at a Kentucky gun show, along with white supremacists, conspiracy theorists, and Orly Taitz of Birther fame (I'm sure some normal folks were there as well). His photos of the event are pretty suggestive. Take a look.

And the ADL has a piece on Poplawski and his history of right-wing and white supremacist rhetoric here. It's disturbing.

04 April 2009

Chaos

After yesterday's tragedy in Binghamton, New York, we have today's tragedy in Pittsburgh, Pennsylvania. Words escape me.

Clearly, one must be insane to open fire on innocents, and economic uncertainty might help push someone "over the edge" (both Wong [NY] and Poplawski [PA] recently lost jobs)], but really--what the hell is going on?

Added: before the day is out, we learn that five children in Washington State have been murdered; their father is dead as well: he killed himself. Authorities think he might be responsible for the children's deaths.
It's been a bloody 24 hours.


Prayers, sympathies, condolences.

27 March 2009

The Experts

Nicholas Kristof's latest column,"Learning How to Think," suggests that we find a way to "evaluate" or "regulate" professional "experts": those pundits who espouse on politics or finance and who prove incredibly influential in how people perceive the world. It just may be that we rely far too much on what authoritative folks proclaim as truth rather than sorting it out on our own. Kristof refers to two studies to make his case. One,

found that a president who goes on television to make a case moves public opinion only negligibly, by less than a percentage point. But experts who are trotted out on television can move public opinion by more than 3 percentage points, because they seem to be reliable or impartial authorities. (NYT)


Amazing, isn't it? David Gergen and the rest of CNN's political round table have more sway than the president.

The second study Kristof offers stems from an experiment in which a group of educators attended a presentation by an actor introduced as "Dr. Fox." "Dr. Fox,"
was described as an eminent authority on the application of mathematics tohuman behavior. He then delivered a lecture on “mathematical game theory as applied to physician education” — except that by design it had no point and was completely devoid of substance. However, it was warmly delivered and full of jokes and interesting neologisms.

Afterward, those in attendance were given questionnaires and asked to rate “Dr. Fox.” They were mostly impressed. “Excellent presentation, enjoyedlistening,” wrote one. Another protested: “Too intellectual a presentation.”(NYT)

So we bow to experts, and, apparetly, wo do so even when they're consistently wrong (cf. Cramer, Kristol, etc.). Primarily, this is because we're unaware of when an "expert" is wrong because they highlight their successes and ignore their failures (Kristol acknowledges that he's guilty of such behavior, by the way). Therefore, Kristol argues, a regulating body might not be too bad--it would help us "normal folks" choose who we actually listen to.

This kowtowing to experts--be they proven or self-proclaimed--isn't restricted to the TV watching, 'blogging, and Twittering common rabble; it's not that the general public consists of dummies who can't think for themselves whereas the "elite," the intellectuals, always do. If the "expert" sounds like an authority, if the rhetoric seems smart, anybody can be taken in. As Kristof says, "even very smart people allow themselves to be buffaloed by an apparent “expert” on occasion." I'd add "even people supposed to be the creme of the intellectual elite "can be buffaloed by an apparent 'expert' on occasion." Take, as one example, the following case:


In 1996 a pair of scientists, Alan Sokal and Jean Bricmont pwned a group of famous literary and social critics whose intellectual prowess and expertise in postmodern philosophy was unquestionable. Sokal and Bricmont questioned these critics and revealed the hollowness behind their well-received theories. You see, if you stripped away the liberally employed jargon,
what emerged was. . .nonsense.

So how did Sokal and Bricmont manage to frsutrate such esteemed thinkers as Jacques Lacan, Jean Baudrillanrd, Julia Kristeva, Gilles Deleuze, Luce Irigaray, and Paul Virilio? the men submitted a paper, titled "Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity," to the periodical Social Text. One the day that Social Text published their paper, Sokal and Bricmont announced that the paper was a hoax. A parody of then-current postmodern polemics in journals. The point? As Bricmont and Sokal explain in a 1998 article, "What is All the Fuss About,":

We show that famous intellectuals [. . .] have repeatedly abused scientific concepts and terminology: either using scientific ideas totally out of context, without giving the slightest empirical or conceptual justification -- note that we are not against extrapolating concepts from one field to another, but only against extrapolations made without argument -- or throwing around scientific jargon to their non-scientist readers without any regard for its relevance or even its meaning. (Bricmont and
Sokal
)
Basically, too many noted intellectuals apply scientific language and theory to their arguments about culture and society when they didn't understand the scientific contexts. They didn't know what they were talking about but, because they were famous, because they used complex language, they were granted an authority that was, perhaps, undeserved.

Sokal and Bricmont's work met with huge hostility; rather than admit, "okay, perhaps that scientific hypothesis doesn't really square with my idea," intellectuals rounded on Sokal and Bricmont and accused them of having any number of ulterior motives (you can read some of the fallout here). But who "won"? Although the intellectuals named by Sokal and Bricmont continue to be famous and cited as experts, it seems that, with the publication of their work, Sokal and Bricmont had a hand in postmodernism's downfall; either that or the men simply represented the late-1990s zeitgeist. According to this chart, pomo has been on the wane ever since the time when Sokal and Bricmont published their 1997 parody.

Aside: Sokal and Bricmont published a book on the entire affair, titled Impostures Intellectuelles (Fashionable Nonsense), in which they revisisted the furor over the paper submitted to Social Text and elaborated upon cultural critics' misappropriation of science's ideas. Sokal and Bricmont also addressed the following:

A secondary target of our book is epistemic relativism, namely the idea -- which is much more widespread in the Anglo-Saxon world than in France -- that modern science is nothing more than a ``myth'', a ``narration'' or a ``social construction'' among many others.(Let us emphasise that our discussion is limited to epistemic/cognitive relativism; we do not address the more difficult issues of moral or aesthetic relativism.) Besides some gross abuses (e.g. Irigaray), we dissect a number of confusions that are rather frequent in postmodernist and cultural-studies circles: for example, abusing ideas from the philosophy of science such as the underdetermination of theory by evidence or the theory-dependence of observation in order to support radical relativism. (Bricmont and Sokal).
Is this an area where the extreme left and the extreme right merge? The suspicion that modern science is a "social construction" or a "myth"?

Further aside: Do visit the Postmodern Generator. After you've been wowed by the author's expertize, be sure to read the material at the bottom of the page.