Engagement Backdrop Quotes

Many intellectuals in the social sciences and humanities do not concede that Earth scientists have anything to say that could impinge on their understanding of the world, because the “world” consists only of humans engaging with humans, with nature no more than a passive backdrop to draw on as we please.

Living beings must take into account both human savagery and human congeniality. The stupendous irrationality and meanness that underlies much of human behavior contrasted with the love and compassion that people unselfishly exhibit makes ordinary life both appalling and fascinating. Using all available knowledge, we must grope our way through the bizarre twilight zone cast while living amongst the great apes, an unpredictable species that is capable of displaying both immense charity and engaging in the most outrageously inhuman actions imaginable. The blessed oddity of human behavior prompts an immense swath of tolerance and produces a wellspring of sympathy for our fellow humans. The radiant minds of history’s great thinkers infused with the quick of experience of today’s perceptive students of life will assist light a pathway though the byzantine jungle for the preeminent torch bearers of tomorrow to claw through. Our collective and interweaved journey through this wrinkle of time shall produce the backdrop of the story of the next generation, a unique tale paying tribute to these thunderous times.

We were to have enough Christianity to fight the Communists and save the Republic, as long as we didn’t take it all too seriously. We weren’t there to carry a cross; we were there to earn a badge. We weren’t to be about Christ and kingdom, just God and country. This notion of Christian America stood in the backdrop of the culture wars of the last generation.

Los Angeles—the dream-making capital of the world—serves as the backdrop for a number of the stories I recount. Some readers who cut their teeth in the urban centers of Europe or on the East Coast of America may prefer to dismiss what happens in Los Angeles as from a place apart, the aberrations of a migrant’s city within a migrant land. Such sentiments are understandable. Awash in the solar energy of a subtropical paradise, Los Angelinos engage life in the moment. The pace is fast, the music loud, and money is on display. Part of me, too, would prefer to dismiss such an existence as a mythmaker’s parody. But the place is real. In its immediacy and in its magnification of the familiar, Los Angeles creates its own reality and in so doing offers a “fast-forward” simulation of our collective future as a migrant culture. As Americans we must now decide whether such a future is of our choice, and whether it is sustainable. In the pages that follow, it is my goal to help inform that choice. Will we learn as a people to constructively channel the opportunities and individual enticements of the Fast New World toward an equitable social order, as Adam Smith had envisioned, or will the material demand for economic growth continue to erode the microcultures and intimate social bonds that are the hallmark of our humanity and the keys to health and personal happiness? Have the goals of America’s original social experiment been hijacked by its commercial success, threatening the delicate dance between individual desire and social responsibility, or will the nation in its migrant wisdom effectively apply its market and military dominance to remain a “beacon of hope,” enhancing the well-being of all the world’s peoples? This is a critical time in America, a time for careful thought and diligent action, for we have discovered in our commercial success that in an open society the real enemy is the self-interest that begins with a healthy appetite for life and mushrooms into manic excess during affluent times. Americans are again in the vanguard of human experience, and the world is watching. It is again a time for choosing.

Against this cultural backdrop, it’s not hard to understand why Banksy’s Dismaland was painted by its critics as naïve, reductive, repetitive, and deeply uncool, another act of ego-driven attention-seeking. Ben Luke of the London Evening Standard proclaimed that Banksy’s Dismaland was “mostly selfie-friendly stuff, momentarily arresting, quickly forgotten—art as clickbait.” Others emphasized its pointlessness. “[I]f Banksy has the money to make an entire theme park, WHY NOT JUST USE IT TO HELP PEOPLE!?” squawked John Trowbridge of The Huffington Post. Banksy could “fund a school in Africa” or “make a video encouraging the youth to be positive and engaged.” Has there ever been a more Disneyfied vision of what it takes to change the world? Ignore all the bad stuff out there and post a super-inspiring video to YouTube instead.

Like other primates, humans can be described either as highly cooperative animals that need to work hard to keep selfish and aggressive urges under control or as highly competitive animals that nevertheless have the ability to get along and engage in give-and-take. This is what makes socially positive tendencies so interesting: They play out against a backdrop of competition. I rate humans among the most aggressive of primates but also believe that we’re masters at connecting and that social ties constrain competition. In other words, we are by no means obligatorily aggressive. It’s all a matter of balance: Pure, unconditional trust and cooperation are naïve and detrimental, whereas unconstrained greed can only lead to the sort of dog-eat-dog world that Skilling advocated at Enron until it collapsed under its own mean-spirited weight.

Transgressive Romance is a subgenre that pushes the boundaries of societal and moral norms within a romantic narrative. These stories often explore forbidden or taboo relationships, and delve into dark, controversial or illicit themes. Characters may engage in behaviors or find themselves in situations that challenge conventional ethical standards or societal expectations. Transgressive Romance can be a provocative exploration of love and desire set against a backdrop of moral ambiguity, allowing readers to question and explore unconventional romantic dynamics within the safety of a fictional setting.

And in front of this backdrop, there were all of us. Our stupid selves with our stupid frustrations, our lost baggage and our delayed trains. It seemed to me that the sense of punishing oversaturation would persist, no matter what was in the news. There was no limit to the amount of misfortune a person could take in via the internet, and there was no way to calibrate this information correctly. No guidebook for how to expand our hearts to accommodate these simultaneous scales of human experience, no way to teach ourselves to separate the banal from the profound. The internet was dramatically increasing our ability to know about things while our ability to change things stayed the same, or possibly shrank right in front of us. I had started to feel that the internet would only ever induce this cycle of heartbreak and hardening-a hyper engagement that would make less sense every day.

The volume offers an overview of how British writers interpreted the French Enlightenment and Revolution against the backdrop of the Terror and the rise and fall of Napoleon, these events welcomed by few and feared by many in Britain as likely to foment a second revolution in that state as the United Irish insurrection had attempted to do in Ireland. Deane’s focus is on the intellectual careers of Edmund Burke, James Mackintosh, Samuel Taylor Coleridge, William Godwin, Percy Bysshe Shelley, and William Hazlitt, though there are slighter cameos also of William Wordsworth, Robert Southey, John Wilson Croker, Francis Jeffrey, Thomas Holcroft, Thomas Paine, and Joseph Priestley. The study teases out how the main figures here engaged conceptually with some of their leading French counterparts including Jean Jacques Rousseau, Montesquieu, Baron d’Holbach, La Mettrie, Helvétius, and others. It examines instances of the intricate relay of ideas of freedom and liberty as they migrated from England into the works of the eighteenth-century French philosophes and then travelled from there back to nineteenth-century England, where French writings were rejected or reabsorbed by some of the leading English writers of the apocalyptic years between Burke’s late career and those that ended the first Romantic generation.

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