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And of course they were descended from the ancient kings of Ireland, as every Irishman is.
“With his hopes fading of seeing his brothers criminally prosecuted, Bill Koch pressed an alternative legal strategy that stirred even greater problems for Koch Industries. In his own display of the family’s relentlessness, he filed a whistle-blower lawsuit against Koch Industries under the False Claims Act, accusing the company of stealing oil from government lands. A Civil War–era statute allows citizens to bring such qui tam suits in instances where they can prove that private contractors have defrauded the government. It was essentially the same case as the one that the Oklahoma grand jury had rejected, but the level of proof required in civil cases is lower.”
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
“According to Doherty’s history, the Kochs came to regard elected politicians as merely “actors playing out a script.” Instead of wasting more time, a confidant of the Kochs’ told Doherty, the brothers now wanted to “supply the themes and words for the scripts.”
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
“1997, for instance, the EPA moved to reduce surface ozone, a form of air pollution caused, in part, by emissions from oil refineries. Susan Dudley, an economist who became a top official at the Mercatus Center, came up with a novel criticism of the proposed rule. The EPA, she argued, had not taken into account that by blocking the sun, smog cut down on cases of skin cancer. She claimed that if pollution were controlled, it would cause up to eleven thousand additional cases of skin cancer each year.”
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
― Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right
“Cal froze in his steps. He was suspended in time, barely breathing. Then he began a practice he had learned when he was very young. He observed and catalogued details outside his main object. He noticed how the wind from the south bent over the new little leaves of the tall privet bush. He saw the muddy path beaten to black mush by many feet, and Kate’s feet standing far to the side out of the mud. He heard a switch engine in the Southern Pacific yards discharging steam in shrill dry spurts. He felt the chill air on the growing fuzz on his cheeks. And all the time he was staring at Kate and she was staring back at him. And he saw in the set and color of her eyes and hair, even in the way she held her shoulders—high in a kind of semi-shrug—that Aron looked very like her. He did not know his own face well enough to recognize her mouth and little teeth and wide cheekbones as his own. They stood thus for the moment, between two gusts of the southern wind.”
― East of Eden by John Steinbeck: A Timeless Tale of Family, Free Will, and the Eternal Struggle Between Good and Evil
― East of Eden by John Steinbeck: A Timeless Tale of Family, Free Will, and the Eternal Struggle Between Good and Evil
“In this sense, therefore, inasmuch as we have access to neither the beautiful nor the ugly, and are incapable of judging, we are condemned to indifference. Beyond this indifference, however, another kind of fascination emerges, a fascination which replaces aesthetic pleasure. For, once liberated from their respective constraints, the beautiful and the ugly, in a sense, multiply: they become more beautiful than beautiful, more ugly than ugly.
Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation.
There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation.
The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation.
In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy.
There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.”
― The Transparency of Evil: Essays in Extreme Phenomena
Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation.
There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation.
The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation.
In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy.
There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.”
― The Transparency of Evil: Essays in Extreme Phenomena
Sean’s 2024 Year in Books
Take a look at Sean’s Year in Books, including some fun facts about their reading.
592 books
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35 friends
447 books
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464 friends
1,981 books
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97 friends
592 books
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4,228 friends
1,075 books
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48 friends
610 books
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118 friends
888 books
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77 friends
2,266 books
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114 friends
More friends…
Favorite Genres
Adult Fiction, Business, Classics, Food, History, Non-fiction, Philosophy, Politics, Psychology, Science, Science fiction, and War
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