And now, quietly, by dint of both cash infusions from the gun lobby to legislators and scant attention from a hollowed-out press corps, this cautious standard is gone in twenty states. Now, anyone—regardless of their role, training or ultimate purpose—can bring a gun to an argument and take a life. And then, if they can manufacture enough of a threat to their person, they can justify the act. Maybe witnesses will be present to contradict their version of events; maybe not. Maybe there will be physical evidence to invalidate their claims; maybe not. But now, the baseline for responsibility lies not with the shooter, but with the state.
Guns don’t kill people, people do—this is the mantra that for generations has defined the prevailing ethos of the firearms lobby. But now, the argument has moved on: Guns don’t kill and neither do people; now, folks are just killed. Shit happens is the new credo for this quiet, epic revolution in our country–one that has already led to many more homicides that defy prosecution in the affected states.
There is a long dishonourable tradition of western intellectuals who have been duped by Moscow. The list includes Bernard Shaw, the Webbs, HG Wells and André Gide. So Assange—whether for idealistic reasons, or simply out of necessity, given his legal bills and fight against extradition to Sweden—isn’t the first. But The World Tomorrow confirms he is no fearless revolutionary. Instead he is a useful idiot.
This morning I was taking a second look at this post from the excellent Lens blog. It’s an interview with ICP- and RISD-trained photographer Antonio Bolfo, who became a cop and did some amazing photojournalism of rookies patrolling housing projects in New York City.
I was curious about how the Lens editors might have connected the project, called NYPD Impact, with the Ramarley Graham shooting, which happened two days before the post went up. It turns out there’s no mention of Graham in the post, and I couldn’t find any comments that made that connection.
‘This is like a safe haven for them,’ Bolfo tells the Times. ‘Kind of like, collect their thoughts, talk to their loved ones, be people. Shed their police persona and relax a little bit.’ It is a place forbidden to civilians. The intensity of the relief this seclusion brings the officers is inverse to their connection to the community. The more they are merely foreign occupiers, the more they enjoy the view, a view that the very residents of the buildings on which they so symbolically trod are not allowed to enjoy … The many must be excluded so that the few may have the privilege of aesthetic contemplation. After all, isn’t that the way Art works?
It’s a pretty harsh perspective, but I can’t help but wonder whether the audience for NYPD Impact actually includes those who live in the projects. The Lens piece does mention the symbolic aspect of Bolfo’s project:
[The photographs] are at turns raw and tender, scary and sweet, and they humanize people on both sides of the badge — those who wear one and those who face them, night after night.
The photos are definitely amazing (be sure to check out the full set) and certainly humanize the NYPD. But I wonder if they do so to the same degree for residents of the housing projects. I wonder about the timing of the interview, which is about a project from 2008-2009. It’s hard not to see the post as a response to community outrage, although I realize it’s most likely just an unintended coincidence.
Update: I contacted Michael Wilson, the reporter who interviewed Antonio Bolfo, and the timing of the interview was in fact coincidental:
The piece was scheduled to run when it did about a week prior, and it was completed and filed in the system before the shooting, I believe. It’s even possible the piece was edited the day of the shooting. I can see where your questions seem like obvious ones after the fact, but at the time, it just wouldn’t have occurred to anyone here to link the two.
To pass through Grand Central Terminal, one of New York’s exalted public spaces, is an ennobling experience, a gift. To commute via the bowels of Penn Station, just a few blocks away, is a humiliation.
What is the value of architecture? It can be measured, culturally, humanely and historically, in the gulf between these two places.
I wholeheartedly agree with this, tear that sucker down:
The only way to fix Penn properly is to move Madison Square Garden.