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mostlysignssomeportents · 1 year ago

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The art of Daniel Danger

[Image ID: Daniel Danger's art print, 'To all who home to this happy place,' depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:

https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction

The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.

There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.

Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.

The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.

The reason this stuck with me is that I learned to be a writer through writing workshops where we would go around in a circle and explain what we liked and didn’t like about someone’s story, and suggest ways to make it better. I started as a teenager in workshops organized by Judith Merril in Toronto, then through my high-school workshop (which Judy had actually founded a decade-plus earlier through a writer in the schools grant), and then at the Clarion workshop in 1992. I went on to teach many of these workshops: Clarion, Clarion West and Viable Paradise.

So I’ve spent a lot of time trying to explain what was and wasn’t good about other peoples’ art (and my own!), and how to make it better. There’s a kind of checklist to help with this: when a story is falling short in some way, writers roll out these “rules” for what makes for good and bad prose. There are a bunch of these rulesets (think of Strunk & White’s Elements of Style), including some genre-specific ones like the Turkey City Lexicon:

https://www.sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/

A few years ago, I was teaching on the Writing Excuses cruise and a student said something like, “Hey, I know all these rules for writing good stories, but I keep reading these stories I really like and they break the rules. When can I break the rules?”

There’s a stock answer a writing teacher is supposed to give here: “Well, first you have to master the rules, then you can break them. You can’t improvise a jazz solo without first learning your scales.”

But in that moment, I thought back to the study with the posters and I had a revelation. These weren’t “rules” at all — they were just things that are hard and therefore easy to screw up. No one really knows why a story isn’t working, but they absolutely know when it doesn’t, and so, like the experimental subject called upon to explain their preferences, they reach for simple answers: “there’s too much exposition,” or “you don’t foreshadow the ending enough.”

There are lots of amazing stories that are full of exposition (readers of mine will not be shocked to learn I hold this view). There are lots of twist endings that are incredible — and not despite coming out of left field, but because of it.

The thing is, if you can’t say what’s wrong, but you know something is wrong, it’s perfectly reasonable to say, “Well, why don’t you try to replace or polish the things that are hardest to do right. Whatever it is that isn’t working here, chances are it’s the thing that’s hardest to make work”:

https://locusmag.com/2020/05/cory-doctorow-rules-for-writers/

But if I could change one thing about how we talk about writing and its “rules,” it would be to draw this distinction, characterizing certain literary feats as easier to screw up than others, having the humility to admit that we just don’t know what’s wrong with a story, and then helping the writer create probabilistically ranked lists of the things they could tinker with to try and improve their execution.

Which is all a very, very long-winded way to explain why I bought a giant, gorgeous art-print at Comic-Con this weekend, even though I have nowhere to hang it and had sworn I would absolutely not buy any art at the con.

I was walking the floor, peeking into booths, when I happened on Daniel Danger’s booth (#5034, if you’re at the con today), and I was just fuckin’ poleaxed by his work.

http://www.tinymediaempire.com/

[Image ID: Daniel Danger’s ‘It stopped being about the panic,’ depicting a ruined mansion interwoven with the skeletal branches of a tree, with a weeping statue and two human figures]

Now, see above. I can’t tell you why I loved this work so much (and that’s OK!), but boy oh boy did it speak to me. I just kind of stood there with my mouth open, slowly moving from print to print, admiring works like “It stopped being about the panic.”

https://tinymediaempire.myshopify.com/products/2022-sdcc-it-stopped-being-about-the-panic-v4

[Image ID: Daniel Danger’s ‘headlight in the path of,’ depicting a ruined mall with a pair of stags standing at the top of the escalator.]

On the surface, this is moody, post-apocalyptic stuff, heavily influenced by classic monster/haunter tropes, but it’s shot through with hope and renewal and the sense of something beautiful growing out of the ashes of something that has toppled. There’s real “(Nothing But) Flowers” energy in “Headlight in the path of”:

https://tinymediaempire.myshopify.com/products/sdcc2023-headlight-in-the-path-of-v2

[Image ID: Daniel Danger’s ‘We are no longer able to protect you,’ depicting a ruined factory with a coming-apart sign reading ‘We can no longer protect you forever,’ and a statue of a sword-bearing angel.]

Danger isn’t just a

very

talented artist, he’s also an

extremely

talented craftsman. As a recovering pre-press geek, I was (nearly) as impressed by the wild use of spot color and foils as I was by the art, like in “We are no longer able to protect you”:

https://tinymediaempire.myshopify.com/products/sdcc-2022-we-can-no-longer-protect-you-forever-v3

[Image ID: Daniel Danger’s ‘made of smoke and chains,’ depicting a ruined landscape with a pair of derelict subway trains at the foot of a hill on whose peak is a rotting mansion. A pair of human figures, holding hands, are approaching the mansion.]

Danger himself calls this work “weird sad hyper-detailed artwork of dreamy buildings of ghosts and trees,” which is a very apt description of this work, as you can see in “Made of smoke and chains”:

https://tinymediaempire.myshopify.com/products/made-of-smoke-and-chains-mist-preorder

So I looked at this stuff and sternly reminded myself that there was no way I was going to buy any art at the con. Then I walked away. I got about two aisles over when I realized I had to go back and ask permission to take some pictures so I could put a little link to Danger in my blog’s linkdump, which he graciously permitted:

https://www.flickr.com/search/?sort=interestingness-desc&safe_search=1&tags=danieldanger&min_taken_date=1687478400&max_taken_date=1690156799&view_all=1

[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

But then I got all the way ass over to the other ass end of the convention center and I realized I had to go back and buy one of these prints. Which I did, “To all who come to this happy place,” because fuckin’ wow:

https://tinymediaempire.myshopify.com/products/sdcc2023-this-happy-place-v6-foil

This was unequivocally the best thing I saw at this year’s SDCC, but I also got some very good news while there, namely, that Emil Ferris’s long, long-awaited My Favorite Thing Is Monsters Vol 2 is finally on the schedule from Fantagraphics:

https://www.fantagraphics.com/collections/emil-ferris/products/my-favorite-thing-is-monsters-book-two

It’s coming out in April, which gives you plenty of time to read volume one, which I called, “a haunting diary of a young girl as a dazzling graphic novel”:

https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/

If you are or were a monster kid or a haunter, this is your goddamned must-read of the summer. It’s a fully queered, stunning memoir for anyone whose erotic imagination intersected with Famous Monsters of Filmland.

(Also, if you’re that kind of person and you’re in the region, you should know about Midsummer Scream, a giant haunter show in Long Beach; I’ll be there on Sunday, July 30, for a panel about the Ghost Post, the legendary Haunted Mansion puzzle-boxes I helped make:

https://midsummerscream.org/

Now Favorite Thing book two was the best news, but the best experience was watching Felicia Day get her Inkpot Award and give a moving speech:

https://en.wikipedia.org/wiki/Inkpot_Award

And then learning that Raina Telgemeier also got an Inkpot; I love Raina’s work so much:

https://memex.craphound.com/2016/10/04/ghosts-raina-telgemeiers-upbeat-tale-of-death-assimilation-and-cystic-fibrosis/

[Image ID: A photo of me with Chuck Tingle, who wears a pink bag over his head on which he has written ‘Love is Real.’]

To cap yesterday off, I also ran into @ChuckTingle, which is as fine a capstone to a successful con as anyone could ask for:

https://www.flickr.com/photos/doctorow/53065500076/in/dateposted/

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/23/but-i-know-what-i-like/#daniel-danger

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justinspoliticalcorner · 10 days ago

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David Smith at The Guardian:

Losing an election for the highest office is a crushing blow that no candidate forgets. But when the American electorate delivers its verdict next week, the personal stakes for Donald Trump will be uniquely high. His fate will hover between the presidency and the threat of prison.

If he claims victory, Trump will be the first convicted criminal to win the White House and gain access to the nuclear codes. If he falls short, the 78-year-old faces more humiliating courtroom trials and potentially even time behind bars. It would be the end of a charmed life in which he has somehow always managed to outrun the law and duck accountability. For Trump, Tuesday is judgment day. “He branded himself as the guy who gets away with it,” said Gwenda Blair, a Trump biographer, adding that, should he lose, “he is facing a lot of moments of reckoning. He could go to jail. He could end up considerably less wealthy than he is. No matter what happens, and no matter whether he wins or loses, there will be a reckoning over his health. Death, ill health, dementia – those are things even he can’t escape.” The property developer and reality TV star has spent his career pushing ethical and legal boundaries to the limit, facing countless investigations, court battles and hefty fines. Worthy of a novel, his has been a life of scandal on a gargantuan scale.

In the 1970s Trump and his father were sued by the justice department for racial discrimination after refusing to rent apartments to Black people in predominantly white buildings. His property and casino businesses, including the Taj Mahal and Trump Plaza, filed for bankruptcy several times in the 1990s and early 2000s. Trump University, a business offering property training courses, faced multiple lawsuits for fraud, misleading marketing and false claims about the quality of its programmes. In 2016 Trump settled for $25m without admitting wrongdoing.

The Donald J Trump Foundation, a charitable organisation, was investigated and sued for allegedly using charitable funds for personal and business expenses. Trump eventually agreed to dissolve the foundation with remaining funds going to charity. Trump and his company were ordered to pay more than $350m in a New York civil fraud trial for artificially inflating his net worth to secure favourable loan terms. He is also known to have paid little to no federal income taxes in specific years which, although technically legal, was seen by some as bordering on unethical.

[...] He became the first president to be impeached twice, first for withholding military aid to pressure Ukraine’s government to investigate his political opponents, then for instigating a coup on 6 January 2021 following his defeat. He also became the subject of not one but four criminal cases, any one of which would have been enough to scuttle the chances of any other White House hopeful. In May Trump was found guilty of 34 counts of falsifying business records relating to a hush-money payment to the adult film performer Stormy Daniels, making him the first former president to be convicted of felony crimes. Sentencing is scheduled for 26 November (the judge delayed it from 18 September after the Republican nominee asked that it wait until after the election). What was billed as the trial of the century has already begun to fade from public consciousness and played a relatively modest role in the election campaign. Jonathan Alter, a presidential biographer who was in court for every day of the trial, recalled: “I’ve covered some big stories over the years but there was nothing like the drama of watching the jury foreperson say, ‘Guilty, guilty, guilty’ 34 times and Donald Trump looking like he was punched in the gut.” Alter, who describes the experience in his new book, American Reckoning, reflects on how Trump has been able to act with impunity for so long. “It’s a combination of luck, galvanised defiance and the credulousness of a large chunk of the American people,” he said. “Demagoguery works. Playing on people’s fears works. It doesn’t work all the time but we can look throughout human history to political figures and how demagoguery and scapegoating ‘the other’ works.”

Alter, who covered the trial for Washington Monthly magazine, added: “We’ve had plenty of demagogues, scoundrels and conmen in politics below the level of president. Trump has been lucky to escape accountability but the United States has been lucky that we haven’t had something like this before. The founders were very worried about it. They felt we would face something like this for sure.” The US’s system of checks and balances has been racing to keep up. Trump was charged by the special counsel Jack Smith with conspiring to overturn the results of his election loss to Joe Biden in the run-up to the January 6 riot at the US Capitol. The former president and 18 others were also charged by the Fulton county district attorney, Fani Willis, with taking part in a scheme to overturn his narrow loss in Georgia. Trump was charged again by Smith with illegally retaining classified documents that included nuclear secrets, taken with him from the White House to his Mar-a-Lago estate in Florida after he left office in January 2021, and then obstructing government demands to give them back.

With a such a caseload, it was widely assumed that Trump would spend this election shuttling between rallies one day and trials the next. But the courtroom campaign never really happened since, true to past form, he found ways to throw sand in the gears of the legal system and put off his moment of reckoning.

Or he simply got lucky. In Georgia, it emerged that Willis had a romantic relationship with the special prosecutor Nathan Wade, prompting demands that she be removed. Smith’s federal election case was thrown off track for months by a supreme court ruling that presidents have immunity for official actions taken in office. The classified documents case was thrown out by Judge Aileen Cannon, a Trump appointee, although Smith is appealing and the charges could be reinstated. Such delays have made it easier to forget just how much of an outlier Trump is. Past presidential brushes with the law consisted of Ulysses S Grant being fined for speeding his horse-drawn carriage in Washington and Harry Truman receiving a ticket for driving his car too slowly on the Pennsylvania Turnpike in 1953. Richard Nixon resigned before he could be impeached over the Watergate scandal and was subsequently pardoned by his successor, Gerald Ford. Meanwhile the standard for presidential aspirants has been high. Joe Biden’s first run for the White House fell apart amid allegations that he had plagiarised a speech by Britain’s Labour leader Neil Kinnock. During the 2000 campaign, a last-minute revelation that Republican candidate George W Bush had a drunk driving conviction that he concealed for 24 years generated huge headlines and was seen as a possible gamechanger. Hillary Clinton still blames her 2016 defeat on an FBI investigation into her email server that produced no charges.

For Donald Trump, his run for the “Presidency” is all about avoiding any possible jail time for his indictments and felonies. If he loses, then Trump could be facing more trials and potentially jail time and/or massive fines.

Send Trump to prison, not the White House!

#TrumpForPrison #HarrisWalz2024

#2024 Elections #Donald Trump #Trump Foundation #Trump University #Georgia v. Trump #People of New York v. Trump #2024 Presidential Election #Trump For Prison #Trump Indictment

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