Economic Trivia Quotes

There is no ready vocabulary to describe the ways in which artists become artists, no recognition that artists must learn to be who they are (even as they cannot help being who they are.) We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells to art? "Artists come together with the clear knowledge that when all is said and done, they will return to their studio and practice art alone. Period. That simple truth may be the deepest bond we share. The message across time from the painted bison and the carved ivory seal speaks not of the differences between the makers of that art and ourselves, but of the similarities. Today these similarities lay hidden beneath urban complexity -- audience, critics, economics, trivia -- in a self-conscious world. Only in those moments when we are truly working on our own work do we recover the fundamental connection we share with all makers of art. The rest may be necessary, but it's not art. Your job is to draw a line from your art to your life that is straight and clear.

High art is researched more than folk art, and museums more than front yards. Yet I would make the case that the minutiae of everyday life deserve our attention; the micro-concerns of the normal round do not make the front pages, but I would hazard a guess that the "trivia" of life, the small things, are probably of more interest to most people most of the time than the macro-concerns of international politics and economics.

In his book Democracy Incorporated, Wolin, who taught political philosophy at Berkeley and at Princeton, uses the phrase inverted totalitarianism to describe our system of power. Inverted totalitarianism, unlike classical totalitarianism, does not revolve around a demagogue or charismatic leader. It finds expression in the anonymity of the corporate state. It purports to cherish democracy, patriotism, and the Constitution while manipulating internal levers to subvert and thwart democratic institutions. Political candidates are elected in popular votes by citizens, but candidates must raise staggering amounts of corporate funds to compete. They are beholden to armies of corporate lobbyists in Washington or state capitals who author the legislation and get the legislators to pass it. Corporate media control nearly everything we read, watch, or hear. It imposes a bland uniformity of opinion. It diverts us with trivia and celebrity gossip. In classical totalitarian regimes, such as Nazi fascism or Soviet communism, economics was subordinate to politics. “Under inverted totalitarianism the reverse is true,” Wolin writes. “Economics dominates politics—and with that domination comes different forms of ruthlessness.

To understand Martha’s world we must approach it on its own terms, neither as a golden age of household productivity nor as a political void from which a later feminist consciousness emerged. Martha’s diary reaches to the marrow of eighteenth-century life. The trivia that so annoyed earlier readers provide a consistent, daily record of the operation of a female-managed economy. The scandals excised by local historians provide insight into sexual behavior, marital and extramarital, in a time of tumult and change. The remarkable birth records, 814 deliveries in all, allow the first full accounting of delivery practices and of obstetrical mortality in any early American town. The family squabbles that earlier readers (and abridgers) of the diary found almost as embarrassing as the sexual references show how closely related Martha’s occupation was to the life cycle of her own family, and reveal the private politics behind public issues like imprisonment for debt. The somber record of her last years provides rare evidence on the nature of aging in the preindustrial world, and shows the pull of traditional values in an era of economic and social turmoil.