World War Two
Published 12 Mar 2022Erwin Rommel loses his command and leaves Tunisia, while change in American command there puts George Patton in charge. On the ground the Axis lose the Battle of Medenine, but in the Soviet Union, Axis forces are on the move and heading for Kharkov.
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March 13, 2022
Rommel Leaves Africa – WW2 – 185 – March 12, 1943
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The Canada Council for the (woke) Arts
In the latest SHuSH newsletter, Kenneth Whyte looks at the origins of the Canada Council for the Arts and compares its original mission to the new direction the crown corporation plans to take:
The Massey Commission (1951), from which all public funding of arts, culture, and scholarly research in Canada derives, and out of which our flagship granting body, the Canada Council for the Arts, was born, knew that it was pushing the nation into perilous terrain. “The dangers inherent” in any system of grants from the central government to arts, letters, and culture was that “the government or its agents would attempt not merely to encourage but to direct” artistic and cultural expression.
The Massey Commission was not the first entity to confront this issue. Much like the Great Canadian Baking Show is a re-staging of the Great British Baking Show, the Massey Commission itself was a knockoff of a UK original (a sad commentary on an initiative intended to define and promote Canada’s unique national identity). The UK effort resulted in the establishment of the British Arts Council, initially chaired by Lord Keynes. Massey quoted him at length on the potential pitfalls of arts funding:
At last the public exchequer has recognized the support and encouragement of the civilizing arts of life as part of their duty. But we do not intend to socialize this side of social endeavour. Whatever views may be held by the lately warring parties, whom you have been hearing every evening at this hour, about socializing industry, everyone, I fancy, recognizes that the work of the artist in all its aspects is, of its nature, individual and free, undisciplined, unregimented, uncontrolled. The artist walks where the breath of the spirit blows him. He cannot be told his direction; he does not know it himself. But he leads the rest of us into fresh pastures and teaches us to love and to enjoy what we often begin by rejecting, enlarging our sensibility and purifying our instincts. The task of an official body is not to teach or to censor, but to give courage, confidence and opportunity.
The founders of the Canada Council felt so strongly about the dangers of political interests imposing themselves on the arts, using federal money to force artistic and cultural activities in one direction or another, that they built checks and balances into its founding legislation. The Canada Council was made a crown corporation, at arm’s length from political types, and its board members were required to “avoid the promotion of any personal interests” or any other specific interests, whether on behalf of regions or “stakeholder groups”.
I can’t speak to the whole of the Canada Council’s activities, but from what I’ve seen of its annual reports, public statements, and funding practices, the Canada Council has jumped the tracks and is now fully dedicated to teaching, censoring, and directing artistic endeavour.
Here’s Simon Brault, chief executive of the Canada Council, giving an enthusiastic endorsement of the core Trudeau government priorities of Indigenous rights and environmental activism:
We need to reimagine an arts sector determined to eliminate racism and discrimination in every form, and the legacy of colonialism. We need to reimagine the arts’ rightful place in the conversations that shape our future. And we need to reimagine, through the arts, a greener and more just and equitable world.
Even if you agree with Brault’s priorities, you have to admit that he is not straightforwardly supporting artistic endeavor but pushing the arts-and-culture sector toward the achievement of a socio-political program.
This mission is also explicit in the Canada Council’s new five-year plan, which has surprisingly little to say about lifting artists and arts organizations out of penury, which some might consider a laudable goal after years of financial crisis and pandemic:
Those are the council’s highlights, not mine.
This past week, the politicization of the Canada Council reached new heights when Brault announced that in solidarity with the Ukrainian people he would cease to fund any “activity involving the participation of Russian or Belarusian artists or arts organizations … This includes partnerships, direct and indirect financing of tours, co-productions, participation in festivals or other events held in Russia.”
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The amazing railroad movie that damaged Buster Keaton’s career – The General
Train of Thought
Published 26 Nov 2021In this video, we take a look at the tragedy of The General and how, what is now considered a classic of the silent era, was panned by audiences upon its release. Yes, I have been watching a lot of Buster Keaton films recently, how can you tell.
The General (Give it a watch): https://youtu.be/iHlBMKtgPOA
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This video falls under the fair use act of 1976
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QotD: The Kaiser’s army and their Auftragstaktik innovations
Auftragstaktik is German for “mission-type tactics” or “mission-oriented tactics”, and it’s the main non-genetic reason they were so fearsome in battle back in the 20th century. Basically the idea is to delegate command authority to the lowest possible level, because the guys who are actually in the shit have a much better sense of the tactical realities than the guys back at headquarters. So long as the guys at the front are adequately briefed about command’s strategic objectives, they can, and should, make the tactical decisions in their areas of responsibility.
They started developing it before WWI, but proof of concept was in the trenches, and it succeeded spectacularly. It’s hard to exaggerate just how outmanned and outgunned the Germans were in that conflict, and I don’t have the exact numbers to hand, but one especially fearsome measure was “artillery density”. On the German side, the preparatory barrage before an attack averaged, at best, something like 1 shell per square foot (this is from memory, so doubtless incorrect, but you get the idea). The Allies achieved something like one shell per square inch, and there you have it …
… or there you should’ve had it, if the Allies had anything close to German-level command-and-control. But they didn’t. British WW1 memoirs, especially, are full of the kinds of ludicrous fuckups that Joseph Heller wouldn’t dare put in his novels. Robert Graves (yeah, I know, not the world’s most trustworthy source) had an especially funny scene where his company got this elaborate set of orders to move to such-and-such coordinates, build an elaborate strongpoint (laid out in minute detail), then move on to some other coordinates and do something else, again spelled out to the nth degree.
Those coordinates were, of course, a mile and a half behind enemy lines.
Or consider that silly movie 1917. If you haven’t seen it, don’t. If you have, and you know a little bit about WWI, you’ll remember how ludicrous the premise was. You don’t need to send a squad, Saving Private Ryan-style, to get a message to a distant dugout where they’re waiting to jump off for an attack. For one thing, there’s this little gadget called a “radio”, and by 1917 they were portable enough to get there. But even if not, there’s this other gadget called a “telephone”, and any C-and-C bunker anywhere along the line would have one, no matter how fast the advance was moving. Finally, even if they didn’t have either of those, the supporting artillery park sure as hell would’ve — just ring them up and call off the preparatory barrage, and I promise you, none of those troops would’ve moved an inch, even if it meant shooting Colonel Sherlock Holmes right in his prissy, pencil-mustached mug.
If you know a bit more about WWI, that kind of ludicrous, plot-ruining stupidity seems like the most accurate thing in the movie, because that kind of bullshit happened all the time. Telephone wires were always getting cut by shellfire, for instance, and since none of the red tabs [staff officers] back at the base would dream of seeing the situation for themselves, field soldiers were always getting scads of contradictory orders, sent at bewildering times. More than one advance was held up by frontline troops having to send runners back to check the orders of other runners, which had been countermanded by yet other runners, coming up with telephone messages …
The guys in the opposing trenches, meanwhile, were just getting on with it. Graves again (and again, I know), quoting from memory, wondered what the High Command would’ve done had they known that for the better part of a year, the entire sector opposite the Royal Welch Fusiliers had been held by no one higher than a corporal.
Severian, “Auftragstaktik: Logic and Anti-Logic”, Founding Questions, 2021-11-18.
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