Counter Terrorism Policing \ What We Do \ Prevent

Be thankful every day that you don’t live in California or in Britain where the newest, craziest, and most extreme forms of contemporary insanity flourish, multiply, and metastasize in more outrageous and virulent forms every week.

Douglas Murray, in The Spectator, recently noted in an editorial that British Counter Terrorism’s Prevent’s “Research Information and Communications Unit” (RICU) identified some potential sources of indoctrination in right-wing extremism.

[A]ccording to RICU there were warning signs if people absorbed information or opinions from ‘pro-Brexit and centre-right commentators’. These included Jacob Rees-Mogg, Melanie Phillips, Rod Liddle and yours truly. So everybody reading this column is at as much risk of being ‘radicalised’ as some young Muslim settling down with a tape recording of Ayman al-Zawahiri or Osama bin Laden, and Rees-Mogg becomes the equivalent of a finger–waving imam sending the young off to become martyrs in the cause of Allah. Which is strange because he never came across that way to me when we crossed paths at Conservative Philosophy Group meetings.

I have since been able to look over some of this pathetic material provided at public expense and can confirm that it gets worse. In one RICU document a number of books are singled out, the possession or reading of which could point to severe wrongthink and therefore potential radicalisation. These include a book on the Rotherham rape gangs, books by Peter Hitchens, Melanie Phillips and – once again – me. Without wanting to beat my own drum, the book of mine that is singled out for this sinister treatment is my 2017 work The Strange Death of Europe. This book spent almost 20 weeks in the Sunday Times bestseller lists, has been translated into dozens of languages and was for some time the bestselling non-fiction book in the UK. So that is an awful lot of potential radicals just there. …

When I first saw these documents I felt a sort of white-hot anger. But then I read on and saw that these same taxpayer-funded fools provide lists of other books shared by people who have sympathies with the ‘far-right and Brexit’. Key signs that people have fallen into this abyss include watching the Kenneth Clark TV series Civilisation, The Thick of It and Great British Railway Journeys. I need to stress again that I am not making this up. This has all been done on your dime and mine in order to stop ‘extremism’ in these islands.

[Emphasis added.]

These include Leviathan by Thomas Hobbes, John Locke’s Two Treatises of Government and Edmund Burke’s Reflections on the Revolution in France, as well as works by Thomas Carlyle and Adam Smith. Elsewhere RICU warns that radicalisation could occur from books by authors including C.S. Lewis, J.R.R. Tolkien, Aldous Huxley and Joseph Conrad. I kid you not, though it seems that all satire is dead, but the list of suspect books also includes 1984 by George Orwell.

So in general, I begin to feel in good company. If government agencies are going to compile lists of suspect books, then I am very happy to stand condemned alongside these fine people, both living and dead.

RTWT

The late Kenneth Clark.

The BBC has decided to attempt to rebut Kenneth Clark’s magisterial tour d’horizon of Western Art, the 13-part 1969 television series “Civilization.” This rejoinder on behalf of our contemporary Woke Multicultural Establishment begins appearing Tuesday evening in the United States on PBS.

Kenneth Clark singlehandedly took viewers from Greek Antiquity to the 20th Century, but correcting Clark’s Eurocentric emphasis on Dead White Great Men apparently requires three presenters: Classicist Mary Beard, the talented (but respectably progressive) historian Simon Schama, and (the Nigerian and therefore full-fledged representative of the viewpoint of persons and cultures of Color) David Olusoga.

Andrew Ferguson, at the Weekly Standard, has seen the series, and warns us what to expect:

[Civilizations] is kind of Clark-like —a catalogue of glorious creations followed by a vision of an art form in an advanced state of spiritual exhaustion. The difference is that the decline of an art form saddened Clark. Each of the episodes of Civilisations that I’ve seen ends with a celebratory profile of a contemporary artist. Invariably their work suffers in comparison with what’s gone before—how could it not?—but the moments serve a summary purpose.

The episode called “How Do We Look?” closes with Kehinde Wiley, the artist who recently completed the official presidential portrait of Barack Obama. The narrator describes Wiley as a practitioner of “the modern art of the body,” which “draws its power” from “challenging the tradition of classical art.” Of course he lives in Brooklyn but “he has traveled all over the world to explore the legacy of colonialism and the different ways we see.” Suddenly we see him in the Metropolitan Museum of Art, moving from masterpiece to masterpiece. A tinny ensemble plays Vivaldi—a fusty reminder of the distant past. “I love the history of art,” he tells the camera. “I love looking at these beautiful images. But I also recognize that there’s something quite sinister about their past.”

“Sinister” sounds judgmental, doesn’t it? So judgmental indeed that I don’t think even Clark used it at all in his Civilisation. But it nicely summarizes the attitude toward the West that viewers of the new Civilisations will find unavoidable, even if they’re confident enough to find it unpersuasive.

Next to life-enhancing, the most important word in Clark’s account of civilization was confidence. Several things came together to make a civilization, Clark said: a measure of material prosperity, a sense of history, a range of vision, and a feeling of permanence, of being situated in a particular moment between past and future, that makes it worthwhile to construct things meant to last.

“But far more,” he said, “it requires confidence—confidence in the society in which one lives, belief in its philosophy, belief in its laws, confidence in one’s own mental powers.” His program was an effort to persuade his audience that confidence in their inherited civilization was well-earned.

In the closing moments of the final episode of Civilisation, Clark intended to strike a note of optimism. “When I look at the world about me in the light of these programs, I don’t at all feel as though we are entering on a new period of barbarism,” he said. He shows us the campus of the then-new University of East Anglia. Apple-cheeked college students pop in and out of classrooms, labor over books—the baby boomers as Clark hoped they were in 1969. “These inheritors of all our catastrophes look cheerful enough. . . . In fact, I should doubt if so many people have ever been as well-fed, as well-read, as bright-minded, as curious, and as critical as the young are today.”

Watching at home, we can assume, was the 14-year-old Mary Beard, all a-tingle and raring to go to college herself, where she could use her curiosity and reading and bright-mindedness to prove the great man and his theory wrong.

RTWT

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A recent biography of Kenneth Clark and his “Civilization” series was recently discussed here.

Remember Kenneth Clark’s magisterial tour d’horizon of Western Art, the thirteen-part Civilization documentary television series that appeared on the BBC in 1969 and in America on PBS in 1970?

The New York Review of Books is reviewing the 2016 James Stourton biography, Kenneth Clark: Life, Art and Civilisation, just being released now in the U.S.

Kenneth Clark is an interesting biographical subject, a talented and fortunate fellow who lived a rich and glamorous life devoted to the appreciation and explication of the Fine Arts. But I was even more struck by the reviewer’s, Richard Dorment, a former Art Critic for the British Telegraph, bald opening discussion of just how far contemporary academic fashion has left behind Kenneth Clark and the Civilization he so brilliantly described.

Once the most celebrated art historian in the world, Kenneth Clark’s star began to fade in the 1980s when a new generation of scholars rejected the object-based scholarship he epitomized and began to study works of art using Marxist, feminist, and psychoanalytical theory. When Clark placed a painting or a building in its historical setting it was to understand more fully how and why it was made, and what it meant to those who first saw it.

Theory-based art history takes the opposite approach: broadly speaking, the scholar is interested in the work of art not as an end in itself but for what its making might tell us about the society that created it, particularly its attitudes toward subjects like race, gender, and social inequality. This kind of art history is taught in most universities on both sides of the Atlantic today. The scholarship Clark represented survives mainly in some museums and exhibition catalogs. Whereas his books were once required reading in undergraduate courses, many are now out of print. Civilization, the television show that introduced millions of people around the world to art history and lit the spark that led to the mass popularity museums and galleries enjoy today, is largely forgotten.

RTWT

One shudders in horror to realize that it has come to this, that it is our fate to live in such a time, when the enemy of Civilization is not only within the gates, but occupying all the leading academic chairs and in control of all the leading museums, cultural institutions, and even the book reviews.

Kenneth Clark would shake his noble head in annoyance, then smile ruefully and say: “Oh well, after all, this, too, shall pass!”