The Deleted Scenes - Continuity and Innovation
In writing about the 15-minute city idea recently, with my review and then a looser follow-up piece here, I’ve kind of focused in on one of the tensions in that idea, which is whether it is fundamentally new (innovative, revolutionary, transformative, etc.) or fundamentally old (return, restoration, rediscovery, etc.). Here’s the bit from the follow-up piece where I note the conceptual lack of clarity around this point in the book:
And I also received a fun, long comment on that piece that explained that conceptual confusion this way:
This is really, really interesting to me: how the really basically harmless, if a bit ego-driven, rebranding of common ideas with new terms can drive distrust. But I think it does, because it bakes the confusion over whether this is a rediscovery of old wisdom or a newfangled idea into the thing itself. Is it or isn’t it? Only the technocrats know for sure. I’ve seen old-fashioned New Urbanist types say before that “modernism” in the 20th century broke with basically all of human and Western civilization. They’ll identify art deco, for example, as the final iteration of traditional architecture before the modernist styles completely broke with that series of styles stretching back centuries. Sometimes the same is said about streetcar suburbs: these neighborhoods have enough traditionally urban DNA that they can be seen as a variant of the traditional city, while modern American suburbia obviously represents a true break with that way of building. But what’s new, what’s old, what’s an iteration, what’s a break, is kind of a judgment call in some ways. It’s not always cut and dry. For example, is the institution Christ founded 2,000 years ago the Roman Catholic Church? That isn’t really a factual question. Were the French impressionists modern or traditional artists? At the time, they were viewed as a radicals or hacks. My wife and I saw an exhibit on impressionism at the National Gallery in D.C., and I was struck by how, with over a century passed, impressionist art very much fits into the long development of traditional art before modern art completely broke with it. Maybe like art deco, or a streetcar suburb. So whether a thing is continuous with what came before or represents a break with it is not only a judgment call, but may not be answerable until we can look back at it with more context. So to go back to the 15-minute city, I guess I’m saying that idea is a mix of new and old. Maybe that’s the wrong question, and my conservative, anti-revolutionary tendency is just a little sensitive (I can’t tell you how many times I’ve argued with other conservatives over that time Obama talked about “fundamentally transforming” America—they thought he meant that literally, I always understood that, a la my commenter quoted above, progressives often talk that way no matter what they’re talking about). Ultimately, the merit of an idea is in the idea itself. But the thing I keep coming back to is that plain, relatable language is never to your discredit. Related Reading: A City's a City No Matter How Small Thank you for reading! Please consider upgrading to a paid subscription to help support this newsletter. You’ll get a weekly subscribers-only piece, plus full access to the archive: over 1,100 pieces and growing. And you’ll help ensure more like this! You're currently a free subscriber to The Deleted Scenes. For the full experience, upgrade your subscription. |
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Book Talk II
Monday, November 18, 2024
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Yes In My Spare Room: Increasing Housing Density Can Start With Us
Friday, November 15, 2024
A guest piece ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏ ͏
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