A Good Photo
I take a conservative, evangelical, economistical look at things. I will be posting intermittently, for reference rather than daily reading. My Wordpress site from before 30 September 2007 is at http://rasmusen.org/x. It is searched from the search engine above.
Three Hierarchies quotes Newman thus:
One literature may be better than another, but bad will be the best, when weighed in the balance of truth and morality. It cannot be otherwise; human nature is in all ages and all countries the same; and its literature, therefore, will ever and everywhere be one and the same also. Man's work will savour of man; in his elements and powers excellent and admirable, but prone to disorder and excess, to error and to sin. Such too will be his literature; it will have the beauty and the fierceness, the sweetness and the rankness, of the natural man, and, with all its richness and greatness, will necessarily offend the senses of those who, in the Apostle's words, are really "exercised to discern between good and evil."
Newman's hostile admiration to secular literature is perhaps in the same spirit as ascetism generally: if it feels good, don't do it. This has both Protestant and Roman Catholic versions. I suppose it's like the gnostic view that the body is bad. The other, correct, view is that God gave us the world to enjoy rather than as a damning distraction.
Eric Hebborn's career gives us an example of why strict libel laws are bad. Wikipedia says:
In 1978 a curator at the National Gallery of Artin Washington DC , Konrad Oberhuber, was examining a pair of drawings he had purchased for the museum from Colnaghi a seemingly reputable old-master dealer in London, one by Savelli Sperandio and the other by Francesco del Cossa. Oberhuber noticed that two drawings had been executed on the same kind of paper.
Oberhuber was taken aback by the similarities of the paper used in the two pieces and decided to alert his colleagues in the art world. Upon finding another fake "Cossa" at the Morgan Library, this one having passed through the hands of at least three experts, Oberhuber contacted Colnaghi, the source of all three fakes. Colnaghi, in turn, informed the worried curators that all three had been acquired from Hebborn.
Colnaghi waited a full eighteen months before revealing the deception to the media, and, even then never mentioned Hebborn's name, for fear of a libel suit. Alice Beckett states that she was told '...no one talks about him...The trouble is he's too good'. Thus Hebborn continued to create his forgeries, changing his style slightly to avoid any further unmasking, and manufactured at least 500 more drawings between 1978 and 1988.
Banfield in his book The Maculate Muse called for this.
"Historically, Germany’s industrial waste flowed down the Rhine to be deposited in Rotterdam’s harbor. “We are the main collecting point for all of Europe’s pollution, its garbage dump,” he said with a smile.
Like many of his contemporaries, Neutelings doesn’t see this landscape as ugly. Nor does he see the creation of bold industrial forms and a sustainable environment as necessarily in conflict. Neutelings and Riedijk’s recently completed Shipping and Transport College, which rises at the edge of an aging industrial pier, looks perfectly at home. The building’s cantilevered top evokes a gigantic periscope; its corrugated metal skin brings to mind the stacked shipping containers still scattered around the port."