From Doomberg – “Wide Awake”

From Doomberg – “Wide Awake”

More wary prescience from Doomberg, worth sharing here for its plea to raise the level of discourse.

Their succinct article about science and culture and overwrought assurance stirs a discussion echoed more than once on The Rhetorical WHY about perspective and pride and rush to judgment.

But this is no bottle episode, and you’ll need to commit some thorough attention of your own to reading other posts… here and here, say, and here and here, and here, and here – and here – and of course here, and even here. And, for good measure, here, and here and here.

A lot of people seem to value healthy scepticism and critical thinking. Yet if one motive for critical thinking, scepticism, and counterargument is the promise offered by free thinking, rigour, and greater precision, then surely another motive, very different, must speak for itself when a predilection for fear stifles debate. And with the chance to speak long enough, fear can become a way of thinking, and a way of being. This matters because fear is destructive; therefore, this ought to matter to everyone. This is more than just easy-blame cancel culture, with its fear of consequence. This is something more inherent, a clash of traits, or of perspectives.

Meanwhile, enjoying the creature comforts of ideological self-assurance… well, like delusion, hubris has reason like no other. As for do-gooders and creeping incrementalism… where often there’s courage found in selfless advocacy, where is there advocacy found in self-expressive purity? Where choice is irreconcilable, we may one day sigh and be sorry we abandoned what would have made all the difference.

The Latest Visual WHY

Click here to read the latest Visual Why

Liubov Popova, “Space-Force Construction” (1921). Oil on plywood, 64 x 60 cm. State Tretyakov Gallery Moscow, gift of George Costakis.

The story behind Eddie Van Halen’s signature guitar art is pretty well known and well documented, as far as when and how and perhaps why he did it. So when I saw this 100 year-old painting, “Space-Force Construction,” by Russian constructivist Liubov Popova, it stopped me short. And I just wondered. Maybe you’re a little taken aback, too.

Seeing this painting lead me to Tate and this article, “Aleksandr Rodchenko’s Lines of Force,” by Brandon Taylor, and I wondered a little more, then added all that wondering to the Visual WHY – you’ll need to scroll down to the Van Halen piece because I still haven’t figured out WP anchor links.


The word “text” derives from Latin, texere, meaning to weave or fit together. For me, text connotes far more than just the printed word – photography, movies, music, sculpture, architecture, the list goes on. The Visual WHY offers a specific look at paintings, texts with no less substance and arguably far more aesthetic. But underpinning the textuality of art altogether is its human endeavour. And beyond weaving something together for the sake of weaving, a weaver – an artist, a person – has a further end: communication.

Artists across all media are people with influences and motives for expressing themselves. Conjointly, texts of all kinds are also plenty human: provocative and reflective. Whether rich and symbolic for a global audience, or doodled sketches for your own amusement, art is text, and text has purpose. As we try to understand it more thoroughly, we can’t help but raise the level of discourse. Who knows, someday maybe art will save the world…

For those who’ve been wondering about the painting featured on this site’s front page, the latest Visual WHY may help explain that, too.

From Doomberg – “On the Cusp of an Economic Singularity”

From Doomberg – “On the Cusp of an Economic Singularity”

One blog-type source I’ve found worthy of my time is Doomberg, the “anonymous publishing arm of a bespoke consulting firm providing advisory services to family offices and c-suite executives.” Somewhat aside, I suppose even an apparent commendation of wealth on my part sets me in somebody’s crosshairs, as much about them as about me, and hey, such is the culture we’ve evidently decided ourselves into. From my perspective as a doctoral student, indebted and broke, I’m able to note how ably I remain aware of my privilege, even when it’s not being pointed out for me. Indeed, from any number of perspectives, our culture today seems doggedly fixed on this point, and just who am I to misstep?

Asides aside, I offer this post with no small trepidation: for Doomberg’s being hosted on Substack, which has come to face a wave of criticism all its own – make that waves of criticism – I similarly risk my head beneath the punctiliously sharpened guillotine of on-line blood-letting. Somewhat aside, I suppose any cancel cult reference has me residing in somebody’s ideological oubliette, which is a fancy word for gaol. From my perspective as an on-line blogger, I wonder how aware anybody is of my other posts, by which I mean each of them as well as all of them – then again, no one can say it all / know it all / do it all in one go in one go. If I’m being honest, in wondering whether our cultural discipline will task itself to read anything beyond 140 characters, what I really wonder is how ably we’re able to reflect upon nuance: remember, before fear took over, this post started two paragraphs ago as something shared.

[Aside: one thing I noted about five of those articles critiquing Substack was their being published inside three days of each other, plus two others inside three weeks of that, all of which any good conspiracist would tell you smells like a campaign, and which I imagine any run-of-the-mill marketer would tell you is trendy, but which I could see Substack simply writing off as ‘good press’. But as all this only amounts to five (plus two to make seven) out of eight, here’s one more from the seemingly disconnected dog days of summer, just for good measure. As for me, I suppose I might consider all this, more clinically, as free speech, for which in all likelihood somebody’s conniving to doom my blog privilege – which reminds me…]

One thing about Doomberg that’s held my attention thus far is an intensive approach throughout their catalogue to detail with accuracy, as well as a wider cross-disciplinary scope on the path to holism – I suppose that’s really two things but I can already hear l’épouvante du Grand Sanson over the din of ravenous mindshare and thought it prudent not to gush. Naturally, what I mean by “accuracy” is open to “interpretation,” and what recourse for this but to stand amidst the entirety of context: I’ve tried my darnedest thus far to craft an intensively thorough catalogue of my own. As for my regular audience… if such a thing exists, for one thing, thanks! For another, I must trust that they’re gradually reaching some understanding of what I value and who I am. Lately, I will say if anyone’s been detecting a tone of frustration or fatigue – you know who you are – then maybe you and I are interpreting some things the same way – the beauty of which doesn’t need to mean we agree on details.

I also like Doomberg’s irreverence, which is probably the only comparison I’d dare make to the sort of thing I try to post here on The Rhetorical WHY.

Sadly, though, the tone of this article (March 05, 2022), “On the Cusp of an Economic Singularity,” falls decidedly away from irreverence toward a more eponymous sense of… well, eponymy.

I will draw attention to two other small comparisons: the first is an early-life fascination with astronomy that led me, like Doomberg, to admiring Stephen Hawking’s accessible book; the second is a precise image of falling dominos, something I found equally à propos, if not nearly as doomish, around this time last year. Well, okay, about the same doomish.

You’ll only have a few more weeks to check out Doomberg for free before they institute their paywall, which is sort of the blogger’s impossible, as the kids would say these days. As for me, I’ll remain on this lowly free platform, at least a little while longer… still a little too chicken to spread those wings and fly.

%d bloggers like this: