Using the Tate Modern as her stage, the artist Kara Walker examines the empire, the debate over memorials and the tragedy of Emmett Till. Is London ready? https://t.co/NSQQafJQZg
— The New York Times (@nytimes) September 30, 2019
Although I gave Foucault a hard time in my Taki’s column last week, I have to admit he was right about something: the more power you have, the more you can control discourse; and the more you control discourse, the more power you have.
It’s now quite feasible to empirically quantify trends in discourse. For example, in 2000 the New York Times only brought up the name “Emmett Till” about once every three months. But now, in The Great Awokening, there is so much Emmett Till News that the Times mentions his name once or twice a week.