Amp Up Your Girlishness

From today’s Dear Abby:

DEAR ABBY: I haven’t had a boyfriend for a while now, and I’m not sure why. Everyone says I’m cool, funny and outgoing. I play video games, sports, and do things that boys think girls would never do (like paintballing in the woods or bungee jumping over and over again).

All my guy friends think I’m awesome, and I do get compliments on my looks as well. I’m not a tomboy, I wear nice clothes and some makeup, but for some reason, whenever I get a crush on a guy, he says it would be “weird” because I’m a “really good friend.”

What am I doing wrong? I love who I am and so do boys. So why don’t they think I could be “girlfriend material”? – BOYFRIENDLESS IN CONNECTICUT

feminine ideal? DEAR BOYFRIENDLESS: It may be that “guys” see you as one of them. And because of it, they don’t consider you in a romantic way. Therefore, it’s time to emphasize your feminine side and present yourself in a different light. This may mean temporarily downplaying your involvement in boys’ sports and paintball games, and amping up your “girlishness.” Give it a try and see what happens.

Why do we still have to read crap like this in 2007? A man who can be allured only by a deceptive acquiescence in antique gender roles isn’t worth catching. Since when is the need to be found pleasing to some goofball so important as to justify sacrificing a woman’s authentic identity? What Abby should have told her is that the problem is not with her but with these guys who think being a romantic partner is incompatible with being a “really good friend” – a warning sign if I ever heard one. Instead, she essentially told her to sacrifice her integrity in order to get some Neanderthal to date her.

And for any libertarians who don’t see why I’m making a fuss about this, here’s a start: it’s like telling libertarians “you’d make more converts to your position if you dropped your opposition to Government Program X.”


Geat Geek

I saw Beowulf today – in 3D, which is definitely the way to see it (well, I suppose IMAX 3D is the way to see it, but there’s no IMAX venue in Auburn), and I suspect 3D will become a more and more frequent format for big-budget action movies. (The theatre showed three previews for upcoming 3D films: Neil Gaiman’s Coraline, a Journey to the Centre of the Earth remake, and – for some reason – a U2 concert film.)

the active life of an animal control officer It was a lot of fun, especially the amazing fight with the dragon at the end – which really made me want (even more) to see movies of The Hobbit, and The Children of Húrin, and Dragonriders of Pern, and Elric of Melniboné, and a proper version of A Wizard of Earthsea …. (Incidentally, I thought I detected an homage to Dragonslayer’s Vermithrax.)

Grendel, by contrast, didn’t strike me as quite right – he seemed a bit too modern in conception, a distinctively 20th-century nightmare. As for the human characters, the ability of computer animation to convey human facial expression has improved dramatically, though it still isn’t quite there – with the exception of Beowulf’s excellently done face, on which they clearly spent the most time and effort. (He often seemed like a real person surrounded by video-game people.) The bawdiness in the hall, and particularly the initial portrayal of Hrothgar as a drunken fool with his clothes falling off, struck me as overdone; the 1998 cartoon did a better job of capturing the dignity of the original poem. But Hrothgar (voiced and semi-faced by Anthony Hopkins) certainly recovers with his more subtle performance through the rest of the movie. And John Malkovich did his best Severus Snape as Unferth. Happily, none of the characters seemed to have an American accent – though, truth be told, each character appeared to have a completely different accent from all the others! I guess Castle Hrothgar was a more cosmopolitan place than we had thought.

There’s even some Old English in the movie; the bard who recites the tale of Beowulf later in the movie does so in the original Saxon tongue (albeit unaccountably, since that’s what everyone else has supposedly been speaking all along), and even the etymology of Beowulf’s name is given correctly (“bee-wolf,” a kenning for “bear” – sadly, the only kenning that survives into the film). Plus Grendel speaks a dialect that is clearly meant to be reminiscent of Old English, although I think it’s mostly just modern English with a funny pronunciation.

On the other hand, for those who know anything about the cultural background, Hrothgar’s claim to have been the slayer of Fafnir is startling (though admittedly the original Beowulf poem does contain a misattribution, or variant attribution, of Fafnir’s slaying – to Sigmund rather than to his son Sigurd/Siegfried – yet certainly not as far afield as Hrothgar), as are the references to Beowulf’s supposed fame in Iceland and Vinland (in the 6th century, some 300 years before the settling of the former and some 400 years before the discovery of the latter); and the screenwriters seem not to know the difference between “lay” and “lie.” I suspect most viewers will manage to overcome any discomfort caused by these errors.

Easy-to-miss moment: Beowulf briefly sees Grendel’s momma in her true form (on the cave ceiling) – and doesn’t realise it; she just looks like more of the treasure with which the walls are encrusted.

Weirdest self-parody moment: Ma Grendel has stiletto heels – despite having no shoes. This was the film’s most jarring reminder that we are dealing with Hollywood rather than Heorot.

Oh, and the theme song sounds okay when the queen (who looks distractingly like an ex-girlfriend of mine ….) is singing it in the mead-hall, but not when it’s being sung in clearly modern fashion over the closing credits.

Passing from Heorot to Camelot, and from swan’s riding to Starfleet – okay, this has nothing to do with Beowulf, but if you have any geek in you at all it’s a must-see.


Two Ole Boys Gooder Than Which None Can Be Conceived

Men that have hazarded their lives
for the name of our Lord Jesus Christ.

Acts 15:26.

The Bible informs us that “Every valley shall be exalted, and every mountain and hill shall be made low: and the crooked shall be made straight” (Isaiah 40:4 – language also familiar from Händel’s Messiah).

The Dukes of Hazzard theme song (from the tv show, anyway; I didn’t see the movie) describes its protagonists as “straightenin’ the curves” and “flattenin’ the hills.”

Bo and Luke are one What is Waylon Jennings trying to tell us? Clearly that Bo and Luke Duke are a metaphor for the Messiah. (Why two brothers to represent one man? No doubt to represent Christ’s two natures, one divine and one human – though which represents which I tremble to say. But the picture on the right is unmistakably signifying that the two brothers are one. And anyway “Dukes” is obviously to be interpreted as dux, the Latin for “leader,” in the singular.)

And if the Duke brothers are the Messiah, then surely Boss Hogg must represent Satan, the “Prince of this world.” C. S. Lewis, move over!

I’ll spare you any attempt to assign theological meanings to the other characters….


Science Fiction Writers for Censorship

As I’ve mentioned before, while I (mostly) support the demands of the striking Hollywood writers, I don’t regard those demands as representing pre-contractual IP rights (since I don’t believe in IP). Rather, in my view their demands are ones that can become rights only via contract; I just think the contractual rights they’re negotiating for are ones that are on the whole fairer than the media companies’ proposal.

Verne spaceship Of course in our current culture of political confusion these distinct issues are bound to get muddled together. Hence I was interested to see this piece on AICN:

Mike Capobianco, president of the Science Fiction Writers of America (the organization that represents, well, I guess it’s self evident…) has released a solidarity statement endorsing the WGA’s strike against Big Media. But reading it over, am I the only one who noticed a very interesting subtext going on? See, this comes less than two weeks after the SFWA Copyright Exploratory Committee, which was hastily assembled following the disastrous cock-up that led to the dis-banding of the organization’s e-piracy committee, released its recommendations for dealing with digital rights management. As we recall, the misuse of the DMCA, not to mention the strong-arm tactics on behalf of even writers who had even released the material under creative commons license, ignited the blogosphere and had some people calling for the resignation of the SFWA’s leadership. (Which, granted, was a bit of an overkill.)

So when Capobianco talks about how “writers and other creators are having their work distributed digitally without seeing any benefit at all,” and how “these precedents will hurt creators as digital distribution [becomes] the predominant method for distributing and accessing content”, it almost feels like he’s not just talking about the WGA. Is he trying to lend a little bit of moral authority to SWFA’s anti-piracy actions by somehow tying it into the WGA’s struggle to keep the tradition of residuals alive in the information age? Is he maybe wagging the finger a little bit at the Scribds out there who are peer-to-peering SFWA members’ works without their approval? Probably not. I’m sure I’m just imagining.

Capobianco’s letter of support for the WGA is here. Material from the SFWA website relevant to the e-piracy flap is here, here, here, here, here, and here. For two opposing takes on the issue, see Cory Doctorow and Ursula LeGuin. (Am I the only one who finds it a bit ironic to see the author of The Dispossessed eager to restrict others’ freedom in the name of property rights?)

One interesting, perhaps non-coercive way to combat “piracy” is this one. It borders on fraud (representing inaccurate copies of copyrighted works as accurate), and I suspect it’s immoral, but if no consideration is exchanged it may not be unjust. What do you think?


Workers For Rent?

Thanks to Anon2 for pointing me to David Ellerman’s online book Property and Contract in Economics: The Case for Economic Democracy. Thus far I’ve only looked at (really just skimmed) the first 40 or so pages out of 184, so I can’t yet say how much of it I’ll end up agreeing or disagreeing with, but I can see already that this is an important book that left-libertarians should be reading.

the separation of labour from management Briefly, here’s what I’ve gotten out of it so far. Both defenders and critics of capitalism (where by “capitalism” Ellerman seems to mean not the market economy per se but the separation of labour from management) assume that the ownership of the means of production automatically brings with it presumptive ownership of the product. Hence defenders of capitalism tend to infer the legitimacy of the capitalists’ ownership of the product from the presumed legitimacy of their ownership of the means of production, while critics of capitalism tend to infer the illegitimacy of capitalists’ ownership of the means of production from the presumed illegitimacy of their ownership of the product. But as Ellerman (who, ironically enough, looks like Uncle Sam and has worked for the World Bank) points out, ownership of the product of, say, a factory is determined by a contract between the factory owners and the workers, not by the mere fact of who owns the factory. (After all the workers own a crucial means of production too – namely themselves.) If we think in terms of the factory owner hiring workers, then it will seem natural to regard the factory owner as having first claim on the product, minus whatever he agrees to pay the workers. But if we think instead in terms of the workers renting a factory, then it will seem natural to regard the workers as having first claim on the product, minus whatever they agree to pay the factory owner.

All of the above is absolutely right, and shows that “capitalism” in the sense of free markets and private ownership of the means of production doesn’t necessarily entail “capitalism” in the sense of managerial hierarchy and the wage system. This is welcome news for those, like me, who seek lefty-style worker empowerment within the context of libertarian economic laissez-faire – and it raises natural questions about what, exactly, determines the relative strengths in bargaining power between owners of labour and owners of capital, and whether the prevailing balance is mainly the result of free markets, government intervention, or other. (As my regular readers will know, I think capital’s dominance stems primarily not from free markets but from government intervention plus “other,” the other being socio-cultural stuff.) Ellerman’s points also lend support to Kevin Carson’s critique of the presumption that labour contracts must be interpreted in term favourable to the owners of capital.

Now from what Ellerman has said so far, my impression – which may or may not turn out to be right – is that he is about to go on to argue that because self-ownership is inalienable and indivisible, contracts to rent oneself out (which is how Ellerman describes labour contracts) are not legitimate even though contracts to rent out inanimate objects like property are perfectly fine – so that contracts whereby labour hires capital are permissible while contracts whereby capital hires labour are not. Thus capitalism conflicts with self-ownership, and workers are after all entitled to their “whole product” – though they may legitimately have to pay the owners of capital out of it.

Anyway, whether or not this is what Ellerman is going to argue, it’s something that somebody might argue, and indeed arguably something that various folks historically have argued (isn’t this after all more or less what William Godwin means when he distinguishes the legitimate “empire to which every man is entitled over the produce of his own industry, even that part of it the use of which ought not to be appropriated to himself” (emphasis added) from the illegitimate “faculty of disposing of the produce of another man’s industry”), so let me say what initially strikes me as right and wrong about it.

Libertarians are divided over the precise nature of service contracts. For some libertarian theorists, when I make a contract with you to perform some service, you thereby acquire a right to my service, and may legitimately compel its performance. This position, taken to its logical extreme, implies the possibility of my conferring upon you a right to any and all of my future services – a slavery contract – and a number of libertarian thinkers, most notably Robert Nozick and Walter Block, have indeed drawn that conclusion and defended the libertarian legitimacy of voluntary (that is, initially voluntary) slavery.

Other libertarian theorists – including Murray Rothbard, Randy Barnett, and your humble correspondent – regard moral autonomy as inseparable from moral personality, and so hold that I have no power to grant you any right to compel my services. On this view, contracts over inalienable services, in order to be legitimately enforceable, must be founded on or translatable into contracts over alienable goods. Thus if you pay me $50 to weed your garden, what you acquire is not a right to compel me to weed your garden, but rather a right to get your $50 back, plus damages, if I don’t weed your garden.

On this interpretation, it will be quite true that contracts to “rent oneself out” or “rent out one’s labour” will not be legitimate, at least if understood as granting to the employer an unconditional right to direct the employee’s labour.

But it doesn’t seem to follow that employment contracts per se are illegitimate; for can’t the factory owner (assuming, as Ellerman is willing to do, that the owner’s claim to the factory is legitimate) reason as follows?

The Capitalist Speaks “This factory, and the raw materials in it, are my property, and I allow the workers to use it only on certain conditions, which are spelled out in the contract. The workers are taking stuff that I own and rearranging it to make new stuff; I agree to allow them to do this, on condition that I get to keep what they make – and they agree to this stipulation, on condition that I pay them an agreed-upon amount. So the contract concerns only alienable goods; the employment contract doesn’t involve renting people or renting people’s labour, it merely concerns conditional transfers of inanimate objects. Now just as the money I pay them is theirs only on condition that they do what they agreed to – for otherwise I acquire a right, not to compel their service, but to reclaim my money – so the factory equipment and raw materials are theirs to use only on condition that they again do what the agreed to, namely, turning over the products to me. If they don’t, my claim to the equipment and materials reverts back to full force, and they have in effect been using my property without my permission. You don’t get a right to the improvements you made in something if it was someone else’s property at the time.”

Hence while I agree that the prevailing system of wage contracts is both undesirable in itself and unlibertarian for “thickness” reasons (e.g. it draws support from statism logistically, props up statism psychologically, and is wrong for some of the same reasons that statism is wrong), I can’t see that wage contracts in their current form are per se a violation of libertarian rights.

Those, anyway, are my preliminary reactions – to a work I’ve only read the first bit of, and that in a cursory fashion – so I’m not sure how applicable my remarks are to Ellerman’s position or, if they are, what responses he might already have developed. I definitely plan to read further and more thoroughly, but I wanted to alert my readers to this fascinating book (I’m sure some of you know about it already, but I reckon many won’t), share some initial thoughts, and invite my readers into the conversation.

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In related news, Kevin Carson has posted some more chapters (see here and here) of his book on the managerial irrationality of statism-dependent hierarchically structured firms. Enjoy!


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