The Politics of Dancing

CRUDE AND TASTELESS IS THE NEW COOL Many illusions have been stripped away during, what must now be called the populist Trump/Brexit era, [1] however the greatest of these must surely be that expressing yourself crudely in political debate is a voter turn-off. Misogyny, blatant antisemitism racism and bigotry, are the new cool. Words like Yid, slut, and worse have all found a way back into the political discourse along with expressions of the crudest xenophobic sentiments. Anti-Irish slurs and stereotypes seem to be making a comeback, all without any political cost. Jeremy Corbyn can make sneering remarks about Jews still not assimilated enough to get British irony, Donald Trump can talk about grabbing pussy, Boris Johnson can talk about walking pillboxes, the voters couldn’t care less, in fact in for the most part they lap it up. Every remark, every opinion, no matter how gross or repulsive will find a host of defenders. [2] The idea that political discourse must abide by cer

‘Time, he's waiting in the wings.  He speaks of senseless things.  His script is you and me, boys’ 'Time'  David Bowie Time is the most fascinating of all aspects of existence so that any exploration of the subject from Proust to HG Wells is bound to fascinate. Time is what we are born into, the place where we live, the stage on which we act out the drama of our lives. Time is invariably the boss, it removes beauty and agility, brains and brawn and, or so it feels, slips away ever faster just as we realise how precious it is. We live in it but cannot grasp it or make it change direction.  Time is dying is dissolving as we breath, it is constantly slipping through our fingers.  We are not killing time; time is killing us. Twenty four hours, as James Joyce, Malcolm Lowry and others have depicted, can represent a lifespan, and twenty-four hours is the subject of Christian Marclay’s installation at the Tate Modern . simply entitled 'Clock.'  Consisting of