In the Critics this Week

Colin McGinn on Philosophy of Mind, Alain de Botton on James Miller, and Will Self on an Indian banq

In the Critics section of this week's New Statesman, ten pages of which are devoted to a philosophy special, our Critic at Large is Colin McGinn, professor of Philosophy at the University of Miami, who surveys the current state of play in the philosophy of mind and consciousness. Although McGinn concedes, in the spirit Descartes, the irrefutable existence of the self, he cautiously downplays the scope of the intellect: "Human intelligence is a local, contingent, temporal, practical and expendable feature of life on earth - an incremental adaptation based on earlier forms of intelligence that no one would regard as faintly omniscient." In Socratic vein, McGinn asserts: "There is more ignorance ... than knowledge."

In Books, Alain de Botton reviews The Philosophical Life: 12 Great Thinkers and the Search for Wisdom, from Socrates to Nietzsche by James Miller. What, says de Botton, sets these seminal thinkers apart is that they pursue salient experience rather than intellectual vanity: "Miller presents 12 philosophers, great names including Socrates, Seneca, Montaigne, Kant and Nietzsche. What draws Miller to them is that they are all, in different ways, utterly unlike what a modern philosophical academic is expected to be. They don't want to be clever, they want to know how to live. They want to be wise." Moreover, de Botton notes that Miller's prose is intended for the layman, not his fellow professionals: "He is to be commended for leaving behind the sterile practices of his colleagues and speaking to civilian readers."

In the Books Interview, Jonathan Derbyshire speaks to Professor Charles Taylor about his latest work, Secularism and Freedom of Conscience. The book responds to the need in modern western societies for political structures that accomodate the full breadth of moral and religious diversity: "The original model of secularism was one in which a very dominant religious group had to fight with other kinds of tendencies. That was the situation in France in the 19th century but doesn't at all describe modern-day Canada or the UK. The kind of secularism [advanced in the book] answers the question,'"How do we live together?'"

Also in Books: Giles Fraser reviews Simon Critchley's The Faith of the Faithless: Experiments in Political Theology. Fraser notes Critchley's atheism, and his argument that Christianity's perennial relevance lies in its alter ego, politics: "Modern political discourse is sublimated theology. And the only way properly to get at the unspoken drivers of much political philosophy is to recognise them as expressions of theological desire". Other reviews: Edward Skidelsky on Together: the Rituals, Pleasures and Politics of Co-operation by Richard Sennett; and Jennie Erdal on Humean influences in her forthcoming novel, The Missing Shade of Blue. PLUS: Sarah Waters pays tribute to Angela Carter on the 20th anniversary of her death.

Elsewhere in Critics: Ryan Gilbey on Extremely Loud and Incredibly Close; Antonia Quirke on Steven Spielberg; Kate Mossman on Paul Weller; and Helen Lewis on Contre Jour. PLUS: Will Self's "Real Meals".

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Are celebrities deliberately messing up their award show performances?

How the "accidental" tumble came to dominate awards season.

The first thing I saw about last night’s Brit awards is that during Katy Perry’s performance of her new single “Chained to the Rhythm” a dancer – dressed as a house – fell off the stage.

This housing crisis is the most meme-able and memorable moment of the entire awards ceremony, but not because it’s anything new. The house follows in the (tumbling) footsteps of Madonna, who in 2015 fell over on the Brits’ stage after a dancer stood on her giant, flowing cape.

If it seems strange that some of the world’s biggest and best known artists are prone to hiring clumsy back-up dancers, it should. Since I’m-so-normal-in-my-$4m-Dior-dress Jennifer Lawrence fell over at the Oscars in 2013, there has been a spate of televised celebrity mishaps.

In 2014, normal-oh-so-normal J Law decided to take another Oscars tumble. In 2015, Perry’s back-up dancer at the Super Bowl, Left Shark, shot to meme fame for its clumsy and out-of-time dance moves. This New Year’s, Mariah Carey gave a self-described “mess” of a performance.

So is this just a coincidence? After all, celebrities have always had live performance mishaps, the most famous being Justin Timberlake exposing Janet Jackson’s breast during the 2004 Super Bowl. But in the late Tens, thanks to social media, mishaps have become the fastest and easiest way to get talked about. After all, when’s the last time anyone on Twitter recommended a mainstream celebrity’s performance because it was “so very touching and good”?

The proof is in the numbers. Left Shark’s dance moves helped 2015 to become the most Tweeted about Super Bowl ever, with numbers dropping dramatically in 2016 (where Coldplay had no mishap other than their continued existence). Tweets and statuses are one thing, of course, and money is another. After her 2015 performance, Perry started selling Left Shark merchandise in her official online store. Mishaps are profitable in more ways than one.

Social media has therefore revolutionised the celebrity mishap, but so too have the phones from which we post our updates. The fact more of us take our smartphones to live shows means that the public can catch mishaps that might traditionally have been brushed under the rug (or cape). It was an audience member, after all, that caught Perry’s falling house on camera.

Short of a shark/house whistle blower, however, there is no definitive proof of this new celebrity conspiracy theory. Yet when it is known that marketers deliberately outrage consumers to drum up publicity, we have to wonder what PR teams wouldn’t do? A small tumble, after all, is a small price to pay to reach new heights. 

Amelia Tait is a technology and digital culture writer at the New Statesman.