Head Line: a primitive shout of rage and fear
- Wares and rumors of wares in a time of Trump.
- The story content becomes the merchandise.
[T]he headline is a feature which began with the Napoleonic Wars. The headline is a primitive shout of rage, triumph, fear, or warning, and newspapers have thrived on wars ever since. And the newspaper, with two or three decks of headlines, has also become a major weapon. …
Any kind of excitement or emotion contributes to the possibility of dangerous explosions when the feelings of huge populations are kept inflamed even in peacetime for the sake of the advancement of commerce. Headlines mean street sales. It takes emotion to move merchandise. And wars and rumors of wars are the merchandise and also the emotion of the popular press.
From The Mechanical Bride
Update 11 Dec 2017: Any kind of excitement. In a post-simulacrum world, the quote itself is verification enough.
“Think of each presidential day as an episode in a television show in which he vanquishes rivals.”
Trump, as reported, in the NYT
When Picasso enters the popular mind by way of McLuhan:
Picasso’s painting is always exciting because Picasso paints the path of feeling. I am speaking completely literally. Picasso paints the path of feeling.
Did you ever have a teardrop run down your face? Sometime have a teardrop run down your face and feel it run. Feel it run and then you will understand Picasso. Picasso paints a teardrop running down your face. He paints a tragic running down on the ieee , , , just as you would feel it. Then at the end of the running he paints the teardrop . . . as it feels. He paints the path of the teardrop… He paints a path of feeling . . . He paints the path of every feeling he has at the moment he is feeling. A moment later would ba too late.
It is so simple.
Picasso paints a teardrop when it is running down the face. That is all.
Of course he must paint the when. He paints it when it Is running . . . all the way. He does not paint the teardrop itself until it has stopped running. Then the teardrop hangs suspended from the when like it feels on the face.
It is not only of Picasso that I speak. There are others . . . like Miro like Chagall like Mondrian like Brancusi and Braque and Kandinsky and Klee . . . ”
Description of German arcades, 1927. in Buck, Dialectic of Seeing
I cannot enter it without a damp chill coming over me, without the fear that I might never find an exit. I am hardly past the shoeshine and news paper stands under the lofty arches of the entrance, and I feel a mild confusion. A window promises me dancing daily and that Meyer without whom no party would be complete. But where is the entrance? Next to the ladies’ hairdresser there is another display: stamps and those curiously named tools of the collector: adhesive pockets with guaranteed acid-free rubber, a perforation gauge made of celluloid. “Be sensible! Wear wool!” demands the next window of me [. .. ] . I [ . . . ] almost stumbled over the peep shows, where one poor schoolboy stands, his school bag under his arm, wretched, immersed in the “scene in the Bedroom.” [. . .] I linger over [. . . ] Knipp-Knapp cufflinks, which are certainly the best, and over the Diana air rifles, truly an honor to the goddess of the hunt. I shrink back before grinning skulls, the fierce liqueur glasses of a white bone cocktail set. The clowning face of a jockey, a handmade wooden nutcracker graces the end of the musical toilet paper holder [. . . ]. The whole center of the arcade is empty. I rush quickly to the exit; I feel ghostly, hidden crowds of people from days gone by, who hug the walls with lustful glances at the tawdry jewelry, the clothing, the pictures [. . .]. At the exit, at the windows of the great travel agency, I breathe more easily; the street, freedom, the present!
Most of what we think of as culture is little more than the unquestioning acceptance of standardized values.
Irvins, Prints and Visual Communication
In the middle years of the seventeenth century Roger Crab of Bethnal Green subsisted on “dock-leaves, mallows or grasse” and plain water, while in the late twentieth century Stanley Green, wearing cap and blazer, paraded in Oxford Street with a banner proclaiming “Less Passion from Less Protein.” For twenty-five years, crowds swirled about him, almost oblivious of his presence, engaged only in their usual uproar.
from “London: A Biography” by Peter Ackroyd
In argument, while motive and disposition might be interesting to study, they are of less interest than the stated positions.
Of course, a person may have all kinds of motives for adopting, questioning, rejecting, defending, or attacking a particular standpoint in a particular manner, but the only thing that person can really be held to is what he or she has, whether directly or indirectly, said or written. That is why it is not the internal reasoning processes and inner convictions of those involved in resolving a difference of opinion that are of primary importance to argumentation theory, but the positions these people express or project in their speech acts. Instead of concentrating on the psychological dispositions of the language users involved in the resolution process, we concentrate primarily on their commitments, as they are externalized in, or can be externalized from, the discourse or text. 54
from Eemeren and Grootendorst, Systematic Theory of Argumentation.