Action-at-a-distance

For at least 22 years, I have heard business presentations (ie, not just technical presentations) given by IT companies which mention client-server architectures.   For the last 17 of those years, this is not suprising, since both the Hyper-Text Transfer Protocol (HTTP) and the World-Wide Web (WWW) use this architecture.    In a client-server architecture, one machine (the client) requests that some action be taken by another machine (the server), which responds to the request.  For HTTP, the standard request by the client is for the server to send to the client some electronic file, such as a web-page.  The response by the server is not necessarily to undertake the action requested.    Indeed, the specifications of HTTP define 41 responses (so-called status codes), including outright refusal by the server (Client Error 403 “Forbidden”), and allow for hundreds more to be defined.  Typically, one server will be configured to respond to many simultaneous or near-simultaneous client requests.   The functions of client and server are conceptually quite distinct, although of course, one machine may undertake both functions, and a server may even have to make a request as a client to another server in order to respond to an earlier request from its clients.   As an analogy, consider a library which acts like a server of books to its readers, who are its clients;  a library may have to request a book via inter-library loan from another library in order to satisfy a reader’s request.
Since the rise of file sharing, particularly illegal file sharing, over a decade ago, it has also been common to hear talk about Peer-to-Peer (P2P) architectures.   Conceptually, in these architectures all machines are viewed equally, and none are especially distinguished as servers.   Here, there is no central library of books; rather, each reader him or herself owns some books and is willing to lend them to any other reader as and when needed.   Originally, peer-to-peer architectures were invented to circumvent laws on copyright, but they turn out (as do most technical innovations) to have other, more legal, uses – such as the distributed storage and sharing of electronic documents in large organizations (eg, xray images in networks of medical clinics).
Both client-server and P2P architectures involve attempts at remote control.  A client or a peer-machine makes a request of another machine (a server or another peer, respectively), to undertake some action(s) at the location of the second machine.   The second machine receiving the request from the first may or may not execute the request.   This has led me to think about models of such action-at-a-distance.
Imagine we have two agents (human or software), named A and B, at different locations, and a resource, named X, at the same location as B.   For example, X could be an electron microscope, B the local technician at site of the microscope, and  A a remote user of the microscope. Suppose further that agent B can take actions directly to control resource X.   Agent A may or may not have permissions or powers to act on X.
Then,  we have the following five possible situations:

1.  Agent A controls X directly, without agent B’s involvement (ie, A has remote access to and remote control over resource X).
2.  Agent A commands agent B to control X (ie, A and B have a master-slave relationship; some client-server relationships would fall into this category).
3.  Agent A requests agent B to control X (ie, both A and B are autonomous agents; P2P would be in this category, as well as many client-server interactions).
4.  Both agent A and agent B need to take actions jointly to control X (eg, the double-key system for launch of nuclear missiles in most nuclear-armed forces; coalitions of agents would be in this category)
5.  Agent A has no powers, not direct nor indirect, to control resource X.

As far as I can tell, these five situations exhaust the possible relationships betwen agents A and B acting on resource X, at least for those cases where potential actions on X are initated by agent A.  From this outline, we can see the relevance of much that is now being studied in computer science:

  • Action co-ordination (Cases 1-5)
  • Command dialogs (Case 2)
  • Persuasion dialogs (Case 3)
  • Negotiation dialogs (dialogs to divide a scarce resource) (Case 4)
  • Deliberation dialogs (dialogs over what actions to take) (Cases 1-4)
  • Coalitions (Case  4).

To the best of my knowledge, there is as yet no formal theory which encompasses these five cases.   (I welcome any suggestions or comments to the contrary.)  Such a formal theory is needed as we move beyond Web 2.0 (the web as means to create and sustain social networks) to reification of the idea of computing-as-interaction (the web as a means to co-ordinate joint actions).
Reference:
Network Working Group [1999]: Hypertext Transfer Protocol – HTTP/1.1. Technical Report RFC 2616.  Internet Engineering Task Force.

Thinkers of renown

The recent death of mathematician Jim Wiegold (1934-2009), whom I once knew, has led me to ponder the nature of intellectual influence.  Written matter – initially, hand-copied books, then printed books, and now the Web – has been the main conduit of influence.   For those of us with a formal education, lectures and tutorials are another means of influence, more direct than written materials.   Yet despite these broadcast methods, we still seek out individual contact with others.  Speaking for myself, it is almost never the knowledge or facts of others, per se, that I have sought or seek in making personal contact, but rather their various different ways of looking at the world.   In mathematical terminology, the ideas that have influenced me have not been the solutions that certain people have for particular problems, but rather the methods and perspectives they use for approaching and tackling problems, even when these methods are not always successful.

To express my gratitude, I thought I would list some of the people whose ideas have influenced me, either directly through their lectures, or indirectly through their books and other writings.   In the second category, I have not included those whose ideas have come to me mediated through the books or lectures of others, which therefore excludes many mathematicians whose work has influenced me (in particular:  Newton, Leibniz, Cauchy, Weierstrauss, Cantor, Frege, Poincare, Pieri, Hilbert, Lebesque, Kolmogorov, and Godel).  I have also not included the many writers of poetry, fiction, history and biography whose work has had great impact on me.  These two categories also exclude people whose intellectual influence has been manifest in non-verbal forms, such as through visual arts or music, or via working together, since those categories need posts of their own.

Teachers & lecturers I have had who have influenced my thinking includeLeo Birsen (1902-1992), Sr. Claver Butler RSM (ca. 1930-2009), Burgess Cameron (1922-2020), Sr. Clare Castle RSM (ca. 1920- ca. 2000), John Coates (1945-2022), Dot Crowe, James Cutt, Bro. Clive Davis FMS, Tom Donaldson (1945-2006), Gary Dunbier, Sol Encel (1925-2010), Felix Fabryczny de Leiris, Claudio Forcada, Richard Gill (1941-2018), Myrtle Hanley (1909-1984), Sr. Jennifer Hartley RSM, Chip Heathcote (1931-2016),  Hope Hewitt (1915-2011), Alec Hope (1907-2000),  John Hutchinson, Marg Keetles, Joe Lynch, Robert Marks, John McBurney (1932-1998), David Midgley, Lindsay Morley, Leopoldo Mugnai, Terry O’Neill, Jim Penberthy* (1917-1999), Malcolm Rennie (1940-1980), John Roberts, Gisela Soares, Brian Stacey (1946-1996), James Taylor, Frank Torpie (1934-1989),  Neil Trudinger, David Urquhart-Jones, Frederick Wedd (1890-1972), Gary Whale (1943-2019), Ted Wheelwright (1921-2007), John Woods and Alkiviadis Zalavras.

People whose writings have influenced my thinking includeJohn Baez, Ole Barndorff-Nielsen (1935-2022), Charlotte Joko Beck (1917-2011), Johan van Bentham, Mark Evan Bonds, John Cage (1912-1992), Albert Camus (1913-1960), Nikolai Chentsov (1930-1992), John Miller Chernoff, Stewart Copeland, Sam Eilenberg (1913-1998), Paul Feyerabend (1924-1994), George Fowler (1929-2000), Kyle Gann, Alfred Gell (1945-1997), Herb Gintis, Jurgen Habermas, Charles Hamblin (1922-1985), Vaclav Havel (1936-2011), Lafcadio Hearn (1850-1904), Jaakko Hintikka (1929-2015), Eric von Hippel, Wilfrid Hodges, Christmas Humphreys (1901-1983), Jon Kabat-Zinn, Herman Kahn (1922-1983), John Maynard Keynes (1883-1946), Andrey Kolmogorov (1903-1987), Paul Krugman, Imre Lakatos (1922-1974), Trevor Leggett (1914-2000), George Leonard (1923-2010), Brad de Long, Donald MacKenzie,  Saunders Mac Lane (1909-2005), Karl Marx (1818-1883), Grant McCracken, Henry Mintzberg, Philip Mirowski, Michel de Montaigne (1533-1592), Michael Porter, Charles Reich (1928-2019), Jean-Francois Revel (1924-2006), Daniel Rose, Bertrand Russell (1872-1970), Pierre Ryckmans (aka Simon Leys) (1935-2014), Oliver Sacks (1933-2015), Gunther Schuller (1925-2015), George Shackle (1903-1992), Cosma Shalizi, Rupert Sheldrake, Raymond Smullyan (1919-2017), Rory Stewart, Anne Sweeney (d. 2007), Nassim Taleb, Henry David Thoreau (1817-1862), Stephen Toulmin (1922-2009), Scott Turner, Roy Weintraub, Geoffrey Vickers VC (1894-1982), and Richard Wilson.

FOOTNOTES:
* Which makes me a grand-pupil of Nadia Boulanger (1887-1979).
** Of course, this being the World-Wide-Web, I need to explicitly say that nothing in what I have written here should be taken to mean that I agree with anything in particular which any of the people mentioned here have said or written.
A more complete list of teachers is here.

Sharks and murder: a Sydney story

Any aspiring crime novelists among you may relish the details of this report from tomorrow’s Sydney Morning Herald:

No wonder the Shark Arm Murder of 1935 remains Sydney’s best-known homicide. Apart from combining two of the city’s enduring interests, crime and sharks, the dismemberment of Jim Smith and its aftermath involved an unusually large number of suburbs, providing plenty of local colour.
. . .
For those uninitiated in the detail of the Shark Arm Murder, Jim Smith, a knockabout and police informer, was killed in Cronulla in a cottage called Cored Joy. According to Alex Castles’s book, most of his body was probably given a ”Sydney send-off” and dumped at sea.
But the arm itself , once detached, seems to have been taken by killer Patrick Brady on a journey to the McMahons Point residence of one Reginald Holmes, a pillar of the local Presbyterian church and cocaine smuggler. After the meeting with Holmes, Brady took the arm to Maroubra, and threw it into the ocean. It was eaten by a small shark that was then consumed by a four-metre tiger shark, which was caught and exhibited alive in a pool at the Coogee Aquarium Baths (now the Beach Palace Hotel). When the shark vomited the arm before a fascinated crowd on Anzac Day, police from Randwick and the city were called. During the investigation, Holmes, who ran his business from Lavender Bay, got into a motorboat, consumed a lot of brandy, and tried unsuccessfully to shoot himself. He then led the police on a four-hour chase around the harbour.
On the morning of the inquest into Smith’s death, Holmes was found dead in the driver’s seat of his Nash sedan in The Rocks, with three gunshot wounds in his chest. No one was convicted of the deaths of Smith or Holmes.”

Against the macho-securocrats

Andrew Sullivan on torture expresses my views exactly.  Richard B. Cheney and that egregious horseman of the apocalypse, John Bolton, keep making the macho-security argument – that only brute force and brutal methods will guarantee the West’s security.  Not only are such means ineffective and counter-productive, their very immorality vitiates our ends.   Just what western values, precisely, could be defended with torture and arbitrary arrest and detention?  That we inflict cruel and unusual punishments, in secret, on our perceived enemies?  That we treat even innocent people as less than human?  That we think laws and due process are dispensible?   Just whose western values are these?
The macho-security argument needs to be forcefully countered every time it is made, as Andrew Sullivan does here:

Actually, I can [believe that America is now safer because of the new restrictions on torture]. I think the intelligence we now get will be much more reliable; I believe that torture recruited thousands of Jihadists; I believe holding torturers accountable will help restore our alliances and give moral integrity back to the war on terror; I believe that without torture, we may actually be able to bring terrorists to justice; and that restoring America’s moral standing will make the war of ideas against Jihadism more winnable and therefore the West less vulnerable than it is now.”

Recent listening 2: Johann Vanhal

Because Joseph Haydn died in 1809, there have been many celebrations of his music this year.  Even Cottonopolis held a mini-fest of his symphonies earlier in the summer.   For a very long time, I did not enjoy Haydn’s symphonies, hearing them as light-weight, shallow and frivolous.  The musical jokes were mildly amusing the first time you hear them, but are not amusing after repeated exposure.  Rather, in marked contrast to his sacred music, Haydn’s symphonic music struck me most forcefully as twee. Perhaps there was something in the social circumstances of their commissioning or their performance that precluded the intense and the profound being expressed in his symphonies.  El Papa’s symphonies have a flippancy one can also hear in lots of Mozart (excepting inter alia his last four Symphonies), in Beethoven (when he’s not being self-consciously serious), and stretching, in what seems to me became a peculiarly-Viennese tradition, all the way to the waltzing Strauss family and even to Mahler.  With the Strausses, it is all foam, all the time.   This Viennese flippancy virus even infected composers far away, such as Mahler’s great admirer, Shostakovich, whose Concerto for Piano and Trumpet (for example) is one long musical joke.   Perhaps only in a city surrounding an imperial court could music so frivolous, so lacking in gravitas, be desired, written or admired.
However, by chance a few years ago, I heard one of Haydn’s so-called Sturm-und-Drang (Storm and Stress) Symphonies.  Here at last was the serious Hadyn I knew from the oratorios and the chamber music, writing music which expressed deeply-felt emotions, and which evoked them, and did both intensely.    These symphonies from his middle period, written between 1768 and 1772 when he was in his late 30s, and usually counted as numbers 44-49, are more powerful and intense than his other symphonies, in my opinion.  In comparison to the music of the practical jokester, they are strange and difficult.  They were clearly written by someone experiencing some emotional torment, and they make for uncomfortable listening.

Recently, I heard a radio broadcast of a symphony which at first I thought was another Haydn sturm-und-drang work, but which I did not know. It turned out to be a work by one of Haydn’s contemporaries, Johann Baptist Vanhal (1739-1813), a Czech composer who lived mostly in Vienna from 1760.   I have since listened to all his works I can find recorded.   Here is music to be reckoned with – deeply intense, emotional, profound, technically sophisticated, and much better than Haydn’s best symphonies.   Technically, Vanhal strikes me as more adept than Haydn, innovative in his choice of instrumentation, and approaching the level of Beethoven in his manipulation and development of musical ideas to achieve profound and moving effects.   The thrilling opening of Symphony bryan c2 (the second in c minor in the numbering system of Paul Bryan) is surely one of the most exciting of the whole 18th century, sending the hairs on my neck straight up.   And the theme is then developed to a place of intense sadness and feeling.  The final movement of this symphony is also quite thrilling, with fast, high string figures repeated while the harmonies beneath them move.    Similarly, Vanhal uses a moving bass line to add a profound edge to a somewhat frivolous melody line in the third movement (Allegro) of Symphony bryan D4 (the fourth in D major).    The fourth movement of Symphony bryan d1 is also intense and thrilling.
In the 4th movement of Symphony bryan g2, Vanhal uses a development idea which is often found in Bach – a figure is played three times, descending a tone each time, over six elements of a circle-of-fifths harmonic progression (eg,  E – A, D – G, C – F).   (To be fair, Haydn also uses similar gadgets – for example, the thrilling circle-of-fourths progression in the development section of the first movement of his Symphony #48 in C, Maria Theresa.)  Supposedly one of the pleasures we gain from listening to music comes from anticipation – our brains are continually predicting what will come next, and when it does we gain enjoyment – and hearing this figure always provides me with great pleasure.    In the intensity of his music and in the development sections, we hear also a prefigurement of Gossec and Beethoven and later symphonic composers.
Why do we not hear more of  Vanhal’s music?  Why are all his symphonies not yet recorded?  Especially in this year of Hadynolatry we should be hearing the music of his contempories and those who influenced him – Vanhal, von Dittersdorf, Michael Haydn – or vice versa, especially when they wrote better music and music which clearly influenced later composers.   If the BBC took seriously its mission to educate as well as to entertain, we could perhaps expect better.  Instead, we get to hear once again Haydn’s musical jokes, as if these were new to us, or funny.
References:
Josef Haydn:  “Sturm und Drang” Symphonies, nos. 44-49.  Symphony Orchestra of Radio Zagreb, Antonio Ianigro (conductor).  Artemis Classics, 2004.
Johann Vanhal: Symphonies.  London Mozart Players, Matthias Bamert (conductor). Chandos Records, 1998.  Contains Symphonies Bryan g2, D4 and c2.
Johann Vanhal: Symphonies. Concerto Koln (no conductor listed).  Elatus, 1996.  Contains Symphonies Bryan d1, g1, C11, a2 and e1.
Johann Vanhal: Symphonies Volume 1. Nicolaus Esterhazy Sinfonia, Uwe Grodd (conductor). Naxos, 1999. Contains Symphonies Bryan A9, C3, D17, and C11.
Johann Vanhal: Symphonies Volume 2. City of London Sinfonia, Andrew Watkinson (conductor). Naxos, 2000. Contains Symphonies Bryan Bb3, d2, and G11.
Johann Vanhal: Symphonies Volume 3. Toronto Camerata, Kevin Mallon (conductor). Naxos, 2005. Contains Symphonies Bryan D2, Ab1, c2, and G6.
Johann Vanhal: Symphonies Volume 4. Toronto Chamber Orchestra, Kevin Mallon (conductor). Naxos, 2008. Contains Symphonies Bryan e3, C17, C1, and Eb1.

Saving Kim Dae-jung

One event that always intrigued me about the life of Kim Dae-Jung was his release by the Korean CIA after their kidnap and torture of him in 1973, a release apparently forced on the Koreans by the US Government.  Such concern for the human rights of opposition dissidents in US-allied countries always struck me as very uncharacteristic of the brutal and cynical real-politic, bordering on madness,  of the Nixon-Kissinger White House, and I always wondered what prompted the concern on that particular occasion.  Now we learn from an op-ed article in the International Herald Tribune that Nixon and Kissinger knew little or nothing about the pressure their administration brought to bear on the repulsive Park regime to release Kim unharmed.  That pressure, which was intense and concerted, was the work of two brave US Government officials, State Department Korea expert Donald L. Ranard and then US Ambassador to the Republic of Korea, Philip Habib.
Reference:
Donald A. Ranard [2009-08-25]:  Saving Kim Dae-jung.  International Herald Tribune, page 6.  For reasons known only to themselves, and as further evidence of the MSM’s failure to understand the 21st century, this article appears not to be in the New York Times online archive (at least, it is not accessible via its title, its author, or any of the people mentioned in it!) 
Postscript (added 2010-08-09):  Here is the article on the site of The Boston Globe.

Guest Post: Michael Holzman on Writing Intelligence History

In response to my review of his book on the life of Jim Angleton, Michael Holzman has written a thoughtful post on the particular challenges of writing histories of secret intelligence organizations:
Histories of the activities of secret intelligence organizations form a specialized branch of historical research, similar, in many ways, to military and political history, dissimilar in other ways.  They are similar in that the object of study is almost always a governmental institution and like the Army, for example, a secret intelligence organization may produce its own public and private histories and cooperate or not cooperate with outside historians.  They are dissimilar due to the unusual nature of secret intelligence organizations.
The diplomatic historian has at his or her disposal the vast, rich and often astonishingly frank archives of diplomacy, such as the Foreign Relations of the United States (FRUS).   Needless to say, there is no publication series entitled the Secret Foreign Operations of the United States (or any other country).  What we have instead is something like an archeological site, a site not well-preserved or well-protected, littered with fake artifacts, much missing, much mixed together and all difficult to put in context.
The overwhelming majority of publications about secret intelligence are produced by secret intelligence services as part of their operations, whether purportedly written  by “retired” members of those services, by those “close to” such services, by writers commissioned, directly or through third or fourth parties, by such services.  There are very few independent researchers working in the field.  The most distinguished practitioners, British academics, for example, have dual appointments—university chairs and status as “the historian” of secret intelligence agencies.  There are, of course, muckrakers, some of whom have achieved high status among the cognoscenti, but they are muckrakers nonetheless and as such exhibit the professional deformations of their trade, chiefly, a certain obscurity of sourcing and lack of balance in judgment.
Thus, an academically trained researcher, taking an interest in this field, finds challenges unknown elsewhere.  The archives are non-existent, “weeded,” or faked; the “literature” is tendentious to a degree not found otherwise outside of obscure religious sects; common knowledge, including fundamental matters of relative importance of persons and events, is at the very least unreliable, and research methods are themselves most peculiar.  Concerning the latter, the privileged mode is the interview with secret intelligence officials, retired secret intelligence officials, spies and so forth.  Authors and researchers will carefully enumerate how many interviews they held, sometimes for attribution, more often not, the latter instances apparently more valued than the former.  This is an unusual practice, not that researchers do not routinely interview those thought to be knowledgeable about the subject at hand, but because these particular interviewees are known to be, by definition, unreliable witnesses.  Many are themselves trained interrogators; most are accustomed to viewing their own speech as an instrument for specific operational purposes; nearly all have signed security pledges.  The methodological difficulties confronting the researcher seem to allow only a single use for the products of these interviews:  the statement that the interviewee on this occasion said this or that, quite without any meaningful application of the statements made.
An additional, unusual, barrier to research is the reaction of the ensemble of voices from the secret intelligence world to published research not emanating from that world or emanating from particular zones not favored by certain voices.  Work that can be traced to other intelligence services is discredited for that reason; work from non-intelligence sources is discredited for that reason (“professor so-and-so is unknown to experienced intelligence professionals”); certain topics are off-limits and, curiously, certain topic are de rigeur (“The writer has not mentioned the notorious case y”).   And, finally, there is the scattershot of minutiae always on hand for the purpose—dates (down to the day of the week), spelling (often transliterated by changing convention), names of secret intelligence agencies and their abbreviations (“Surely the writer realizes that before 19__ the agency in question was known as XXX”).  All this intended to drown out dissident ideas or, more importantly, inconvenient facts, non-received opinions. 
What is to be done?  One suggestion would be that of scholarly modesty.  The scholar would be well-advised to accept at the beginning that much will never be available.  Consider the ULTRA secret—the fact that the British were able to read a variety of high-grade German ciphers during the Second World War.  This was known, in one way or another, to hundreds, if not thousands, of people, and yet remained secret for most of a generation.  Are we sure that there is no other matter, as significant, not only to the history of secret intelligence, but to general history, that is not yet known?  Secondly, that which does become available must be treated with extraordinary caution in two ways:  is it what it purports to be, and how does it fit into a more general context?  To point at two highly controversial matters, there is VENONA, the decryptions and interpretations of certain Soviet diplomatic message traffic, and, on a different register, the matter of conspiracy theories.  Just to approach the prickly pear of the latter, the term itself was invented by James Angleton, chief of the CIA counterintelligence staff, as a way for discouraging questions of the conclusions of the Warren Commission.  It lives on, an undead barrier to the understanding of many incidents of the Cold War.  The VENONA material is available only in a form edited and annotated by American secret intelligence.  There are, for example, footnotes assigning certain cover names to certain well-known persons, but no reasons are given for these attributions.  The original documents have not been made available to researchers, nor the stages of decryption and interpretation. And yet great castles of interpretation have been constructed on these foundations.
Intelligence materials can be used, indeed, if available, must be used, if we are to understand certain historical situations:  the coup d’etats in Iran, Guatemala and Chile, for example.  The FRUS itself incorporates secret intelligence materials in its account of the Guatemala matter.  But such materials can only be illustrative; the case itself must be made from open sources.  There are exceptions:  Nazi-era German intelligence records were captured and are now available nearly in their entirety; occasional congressional investigations have obtained substantial amounts of the files of American secret intelligence agencies; other materials become misplaced into the public realm.  But this is a diminuendo of research excellence.  The historian concerned with secret intelligence matters must face the unpleasant reality that little can be known about such matters and, from the point of view of the reader, the more certainty with which interpretations are asserted, the more likely it is that such interpretations are yet another secret intelligence operation.
— Michael Holzman

Kim Dae-Jung RIP

The death has just occurred of Kim Dae-Jung (1924-2009), brave Korean dissident and opposition leader, who later became President.  The Guardian’s obituary is here.   He survived imprisonment, a death sentence, a kidnap and beatings by the Korean Central Intelligence Agency, speaking out bravely and persistently against the ruthless Park and Chun dictatorships to become the Republic of Korea’s first non-Conservative President.   However, the military-jaebol complex which has run the country since WW II proved too strong for him, and he was not able to enact the reforms he desired.  His strong desire for peace and possibly unification of the two Korean states may also have led him to a certain naivety in dealings with the criminal gang who enslave the North.
The Guardian has a photo gallery of the life of Kim Dae-jung here.

With the Brotherhood against Germaine

Although born a Melbournite and raised a Catholic, Germaine Greer, while she was a post-graduate student at Sydney University, was a late child of one of Australia’s Bohemian moments, The Push.  How odd, then, that she should take against that earlier group of Bohemian artists, the Pre-Raphaelite Brotherhood.
In her Guardian column, Germaine Greer first criticizes the Pre-Raphaelite Brotherhood (PRB) for not being original as artists, since their style resembles that of the slightly earlier German Nazarenes.    I question the fairness of such a criticism for art made in the days before public art collections, colour photography, satellite TV, and international blockbuster exhibitions.  But at least from this we know that she values originality in art over other criteria, and thus reveals herself captive to that insidious idea which has held most of our cultural critics hostage these last two centuries:  that only those with something new to express should be permitted to make art.    Nice to see you using your own critical faculties there, Dr Greer, and not just swimming with the art-critical tide.
She goes on to say:

It will be obvious to many that, while France was experiencing the dazzle of the impressionists, Britons were happy to applaud and reward the false sentiment, fancy dress and finicking pseudo-realism of a dreary horde of pre-Raphaelites.
The PRB led its followers into a welter of truly bad art: stultified, inauthentic, meretricious and vulgar. Where the Nazarenes went for luminosity, simplicity and piety, the PRB wallowed in elaboration, erotic suggestion and overheated colour. If they hadn’t had sex with their models, they wanted you to think they had. They realised pretty early on that nudes are not erotic; their languorous models drooped, swooned, gasped and died in ever more elaborate, flowing gowns shot through with new synthetic colours: arsenic greens, cobalt blues, alizarin crimsons.”

We learn that she does not like their art.   But the justification of her taste leaves a lot to be desired.  The art of the PRB is both “dreary” and uses “overheated colours”.  How exciting to find an English text by a writer as good as this where precisely one, but only one, of two adjectives is used with the opposite of its usual meaning.   But which one?  Clearly, her writing is testing our wits here – challenging us to find a version of reality which enables both these conflicting descriptions to be simultaneously true of the same art.
The percipient Dr Greer clearly doesn’t like bright colours, although (as one might expect from someone with a PhD in EngLit) she enjoys finding the precise words to denote them: “arsenic greens, cobalt blues, alizarin crimsons”.  Nicely put, and not merely the three primary colours, either.  But one does not need the advice of a professional art critic to decide whether one likes certain colours or not.  Any child can do that. And nothing provided by the indefatigable Dr Greer justifies – or could ever justify – her individual, peculiar preference here, because colour preference is entirely a matter of personal taste (itself perhaps partly of biology, for the colour blind), and not of art theory or art criticism or even of art newspaper mongering.   I find the PRB’s colours and colour combinations riveting, electric and enchanting.
Consider some of those other adjectives the irrepressible Dr Greer applies:  “false sentiment”, “inauthentic, meretricious”.   How, precisely, does one determine that a work of visual art is inauthentic or meretricious?  Oh, I am sure one can do this with literature:  a writer’s choice of words may reveal his or her true thoughts even when the surface description is pointing elsewhere.  The novel, The Godfather, by Mario Puzo, for example, seems to show a writer reveling in the violence which his own text ostensibly deplores.  But those arts which do not use language – visual art, music, dance, etc – have a murkier connection to the world they inhabit, and they do not have this capacity for self-reference and hence self-revelation.  So how can the good Doctor actually determine the authenticity or otherwise of a painting?   Perhaps by comparing its subject with its treatment, for example if a serious scene were painted in a slapdash manner, or the reverse.  But against such an argument, one could just as easily argue that the means do not necessarily vitiate the ends, but instead may empower or ennoble them:  ie, a careful, finicky, technically-adept painting of an apparently flippant subject could actually enhance the subject and bring it to our attention, as in Mozart’s operas with their silly plots or those Haydn symphonies containing musical jokes or even Duchamp’s Fountain.  Or indeed, with the PRB’s careful, elaborated, and finely-accurate paintings of imagined scenes from myth and history.  No, arguing the inauthenticy of visual art would only ever be persuasive if done painting-by-painting, and even then would need greater intellectual subtlety, depth and heft than the inestimable Dr Greer has chosen to provide here.
Pre-Raphaelite art, for reasons unclear to me, has almost always been unpopular with art critics.   Depending on which historical era you select, art critics of the time have tended to believe that all art should celebrate us, or uplift us, or provoke us to thought, or confront us, or even attack us.  Almost never have art critics wanted art merely to entertain us, to give pleasure to us, to be enjoyed by us.  One has to ask what is wrong with a profession so opposed to simple beauty and pleasure.   And what does our Germaine think?  Well, she describes the PRB’s art as “vulgar”.  Now this is a very interesting adjective, and in this word I believe we have found the deep ground of her dislike.   This word is usually used to refer to objects and activities which are popular, which ordinary people do or which they enjoy, but of which the person deploying the word disapproves.   That one word “vulgar” gives her game away. It is a word heard often by anyone having an Australian Convent education. And it is certainly indicative of the irony-rich subtlety of Greeresque thought that this word should be deployed by someone who has appeared on reality TV.
By an accident of historical timing, one of the great world collections of Pre-Raphaelite art is in the Art Gallery of New South Wales, in Sydney.  I have no way of knowing if that collection and her time in Sydney and in The Push are connected to her present dislike of this great, technically-sophisticated, life-affirming, ennobling, and pleasing art.  By the very same accident of timing (local people made good, collecting the latest in British art when the PRB were active), the other great world collections of Pre-Raphaelite are in the northwest of England, particularly the Walker Gallery in Liverpool, the Lady Lever Gallery in Birkenhead, and Manchester City Art Gallery.

Oz-NZ Cabinet Meeting

The Australian and New Zealand Governments are to hold their first-ever joint Cabinet meeting, in Sydney on this Friday 24 August.  The political parties in charge of the two countries are currently of opposite hue:  Labor in Australia, and National in NZ. 
In some respects, the only surprise here is why this took so long.  For a period  before it was self-governing, New Zealand was a dependency of the British colony of New South Wales, and indeed NZ achieved self-government four years before NSW did (1852 vs. 1856).  The preamble to Australia’s Federal constitution mentions NZ as one of the founding states, which would still provide NZ fast-track entry to the Federation should it ever wish.  Immediately following Federation in 1901, both countries had cabinet ministers born in the other country, and New Zealand cabinet ministers (along with those from Papua New Guinea and from Norfolk Island) are now regular participants in the various Ministerial Council meetings of COAG, the Council of Australian Governments, the Australian Federal-State body tasked with co-ordinating policy.   (As a consequence, COAG meetings, which rotate locations, sometimes take place in NZ or PNG.)  The two countries have agreed freedom of trade in almost all products and services and freedom of movement (at least for each others’ citizens), and have even talked about a common currency.  They have shared defence activities since at least the joint ANZAC force landed at Gallipoli, Turkey, in 1915.
Apart from actual political unions, such as the USA and the EU, I wonder what other two political entities have this degree of co-ordination.  Even the British-Irish Council of the Isles, which links the various national assemblies of Eire, Great Britain, Guernsey, the Isle of Man, Jersey, Northen Ireland, Scotland and Wales, does not involve much substantive collaboration.  No doubt different languages make joint cabinet meetings difficult across many borders:  The only example I can recall in recent years were the joint Franco-German cabinet meetings held under Francois Mitterand and Helmut Kohl.