Kim Murphy in the Los Angeles Times:

We are not talking about the paintings on the wall at the Tehran Museum of Contemporary Art, which Sadeghi directs. Those are, at the moment, a stylish if bland collection of Iranian textile and costume design for the fashion-conscious and appropriately modest Iranian woman.

No, we’re talking about the outlaw paintings in the basement, locked in the museum’s vault. Not just the Picassos — the Kandinskys, the Miros, the Warhols. The Monet, the Pissarro, the Toulouse-Lautrec, the Van Gogh. Possibly the best Jackson Pollock outside the U.S.

Ruled by one of the most vehemently anti-Western governments in the world, Iran is, by many assessments, home to the most extensive collection of late 19th and 20th century Western art outside the West. It is a treasure trove of masters that is all but forgotten outside knowledgeable art circles because, for all but a few of the last 30 years, it has been virtually unseen.

More here.  [Thanks to Ruchira Paul.]

A. O. Scott in the New York Times:

There is plenty of sorrow to be found in “Into the Wild,” Sean Penn’s adaptation of the nonfiction bestseller by Jon Krakauer. The story begins with an unhappy family, proceeds through a series of encounters with the lonely and the lost, and ends in a senseless, premature death. But though the film’s structure may be tragic, its spirit is anything but. It is infused with an expansive, almost giddy sense of possibility, and it communicates a pure, unaffected delight in open spaces, fresh air and bright sunshine.

Some of this exuberance comes from Christopher Johnson McCandless, the young adventurer whose footloose life and gruesome fate were the subject of Mr. Krakauer’s book. As Mr. Penn understands him (and as he is portrayed, with unforced charm and brisk intelligence, by Emile Hirsch), Chris is at once a troubled, impulsive boy and a brave and dedicated spiritual pilgrim. He does not court danger but rather stumbles across it — thrillingly and then fatally — on the road to joy.

In letters to his friends, parts of which are scrawled across the screen in bright yellow capital letters, he revels in the simple beauty of the natural world. Adopting the pseudonym Alexander Supertramp, rejecting material possessions and human attachments, he proclaims himself an “aesthetic voyager.”

More here.

Alexander Masters reviews The Poincaré Conjecture: In Search of the Shape of the Universe by Donald O’Shea, in The Spectator:

‘I find that the earth is not as round as it is described, but it is shaped like a pear,’ Christopher Columbus wrote after his return from America, ‘with a woman’s nipple in one place, and this projecting part is highest and nearest heaven.’

Determining the shape of the surface on which we live is, as Donal O’Shea observes in this historically minded little book, a delicate matter. Columbus’s idea was not (at least, not only) the lascivious fantasy of a hoary sea dog. He believed that he had reached India, not America. But he also knew that he had completed the journey much more quickly than the accepted size of the world allowed: the well-travelled southern route suggested Asia was thousands of miles further away. A mammary planet, God-seeking nipple northward, was the only explanation. Even after Ferdinand Magellan returned from his circumnavigation in 1522, it wasn’t (as O’Shea, who is pernickety as well as entertaining, remarks) clear that Earth was a sphere. There were just so many potential complications that he might have missed. It could have been an American doughnut: he could have sailed through the chocolate icing, and returned to Spain without even noticing the hole that he’d looped in the middle. Worse still, it might have been a pretzel.

O’Shea’s The Poincaré Conjecture concerns the next level up: the shape of our universe in the fourth dimension. Personally, my heart freezes to a one-dimensional dot when scientists start talking about more than three dimensions.

More here.

Via NoUtopia.com:

Love Poem With Toast
Miller Williams

Some of what we do, we do
to make things happen,
the alarm to wake us up, the coffee to perc,
the car to start.

The rest of what we do, we do
trying to keep something from doing something,
the skin from aging, the hoe from rusting,
the truth from getting out.

With yes and no like the poles of a battery
powering our passage through the days,
we move, as we call it, forward,
wanting to be wanted,
wanting not to lose the rain forest,
wanting the water to boil,
wanting not to have cancer,
wanting to be home by dark,
wanting not to run out of gas,

as each of us wants the other
watching at the end,
as both want not to leave the other alone,
as wanting to love beyond this meat and bone,
we gaze across breakfast and pretend.

from Some Jazz a While: Collected Poems, 1999
University of Illinois Press

J. Courtney Sullivan in the New York Times:

A few weeks ago, Laura Bonner received an e-mail alert at her office computer: A friend she hadn’t heard from in ages had sent her an electronic greeting from a Web site called Someecards.com. “I think I actually groaned,” said Ms. Bonner, 26, a subsidiary rights manager for Farrar, Straus & Giroux. “I mean, really, an e-card?”

Ms. Bonner ignored the message for as long as she could. Finally, at day’s end, she clicked on the link, expecting to find a typically treacly online greeting, the kind that assaults the eyes and ears with bright colors and cloying music. Instead she saw a simple sketch of a smiling elderly man in a bowling shirt, with a caption that read: “I’m glad we stay mildly interested in each other’s lives.”

“I laughed out loud,” she recalled. “I was instantly obsessed with the site.”

Though electronic greetings were once supposed to make traditional cards passé, today many e-cards are just as cringe-inducing as their tangible store-bought counterparts. But in the last year, a new wave of e-card sites have emerged, seeking a hipper audience with sarcastic, edgy and proudly vulgar messages.

More here.

From The Washington Post:

Paul Theroux is something of a throwback. In an era when so many novelists jump up and down with tricks, verbal antics, shock and razzle-dazzle, all the while shouting — like Baby Roo — “Look at me, look at me,” Theroux just gets on with telling a compelling story, with the smoothness of a confident professional. The Elephanta Suite is his 27th work of fiction. The man knows his business. People mainly think of Paul Theroux as a travel writer, the man who gave us the larky, sometimes scathing and bitterly comic bestseller The Great Railway Bazaar. Over the years since then, he’s turned out many similar books, some of them marred by his slightly sour personality. In more ways than one, he’s the Somerset Maugham of our time.

All three novellas are tenuously connected. Not only by their themes — Americans in India; the temptations of sex, mysticism or both; unexpected consequences — but also because the main characters all stay, if only briefly, in the Elephanta Suite of a luxurious Mumbai hotel. What’s more, the businessman of the first story is mentioned in the second, and a young woman glimpsed in the second becomes the main character of the third. That said, nothing much is done with this interlacing. It even seems a little cutesy.

More here.

From Nature:

Study after study has shown a connection between smoggy days and an increase in deaths. Now two experiments, one on mice and the other in men, clarify why. Diesel fumes, they find, encourage blood clots that can bring on heart attacks and strokes. The study in people helps to prove the correlation between heart problems and a city’s poor air quality and hints at the role of clotting in this process. And the work in mice exposed to smog suggests that the immune system kick-starts the process.

Together, the two call attention to the dangers of air pollution for people with heart trouble. “The message we’re trying to promote is please exercise, it’s good for your heart and your health. But if it’s a bad [air] day you should think twice,” says David Newby, a cardiologist at the University of Edinburgh, UK, who led the clinical study.

More here.

“In China, people thought I should be in a mental hospital,” says Zhang, smiling. “In New York, they understood what I was doing as art.”

These days, Zhang’s favourite material is incense ash, which he collects from temples and moulds into the paintings and sculptures that will dominate his London show. “Ashes for me are life,” he says. “To me the dead are alive in the ashes.”

His days of rural poverty and Maoist indoctrination may be distant, but memories of those times still provide many of the themes for his work – family, loss, propaganda and alienation. “Back then, nobody wanted things because nobody had much,” he says. “Everybody glued their own shoes together. But inside we were so happy.”

more from The Telegraph here.

In looking over the carnage that was Korea, Halberstam wonders quietly about “the odd process — perhaps the most primal on earth — that turned ordinary, peace-loving, law-abiding civilians into very good fighting men; or one of its great submysteries — how quickly it could take place.”

And so he ends his last great book not in his own voice but with the reflections, in old age, of Sgt. Paul McGee, who felt that despite the public’s disillusionment and forgetfulness, he and his friends had done the right thing. They “had shared those dangers, and that set them apart from almost everyone else for the rest of their lives,” Halberstam reports. “They did not need words to bind them together; their deeds were the requisite bond.” McGee felt that “he was glad he had gone and fought there. It was a job to do, nothing more, nothing less, and when you thought about it, there had not been a lot of choice.”

David has left us with a long salute to duty.

more from the NY Times Book Review here.

Leibniz proposed that the actual world is the one that combines the maximum of variety with the minimum of complexity for its fundamental laws. The “best” world, the world sought by the most intelligent designer, is one that maximizes variety in its phenomena and simplicity of basic law. Such a world has no place for a specific set of plans for the Arctic tern. The upshot is not attractive to those who favor intelligent design. It is in effect a proof that we live in a world of quantum-mechanical laws that are counterintuitive (to humans) but intrinsically simple–a world that, once these laws are in place, is then allowed to evolve out of a very few raw materials by chance and selection into unendingly complex patterns, including life on earth as we know it. It is a fact that you will get complex structures if you just let such systems run.

The wisest designer would choose the governing laws and initial conditions that best capitalized on this mathematical fact. A stupid designer would have to arrange for all the intricate details (the Arctic tern again) that anti-Darwinians eulogize, but an intelligent designer would let chance and natural selection do the work. In other words, in the light of our present knowledge, we can only suppose that the most intelligent designer (I do not say there is one) would have to be a “neo-Darwinian” who achieves the extraordinary variety of living things by chance.

more from The Nation here.

From The Dubliner:

  “Whoso would be a man must be a nonconformist” said Ralph Waldo Emerson. But then, he wasn’t Irish. In the land of Breakfast Roll Men and Decklanders, one fears that everyone is conforming to a type. The notion that following your own vision might be a good idea – even if it’s not making you any money – seems like crazy talk. But throughout the boom, a great many people have been doing their own thing, with no regard for dull convention. This article is a celebration of such people. For the mavericks keep things interesting.

Selina Cartmell: Can a young Englishwoman who directs plays at the Gate and the Abbey – the twin pillars of establishment theatre – really be described as an Irish maverick? Strangely, the answer is yes.

Sinéad. She’s a national treasure. We’ve been following her one-woman tornado for three decades, cringing through the lesbianism and the priesthood, dead proud during the Grammys and the pregnancies. All we want is for her to be happy…

More here.

From Arts Admin:

Heather Ackroyd and Dan Harvey have been collaborating together since 1990. It was during their formative study years that both artists, independent of knowing each other, began to introduce the living element of grass into their work. The time-based medium provided a compelling relationship between performance and sculpture in Heather’s early work and within Dan’s practice, grass became incorporated into a developing body of work to do with transience, alchemy and decay. In 1989 Heather and Dan met for the first time and a shared imagining of an interior ‘growing’ space reached fruition the following year. Their first collaborative project The Other Side activated an intense and productive artistic relationship that has subsequently led to exhibitions and commissions worldwide.

… Ackroyd & Harvey have created their most ambitious public artwork, FlyTower, on the National Theatre’s Lyttleton flytower. FlyTower sees the artists working directly on the exterior of one of London’s landmarks, transforming this iconic building into a living artwork of massive proportions.

More here.

Thanks to Brad Carlile for pointing out this work.

Lewis Smith at Times Online:

Bettina Menne, of the World Health Organisation, will outline today how climate change is causing some insect-borne diseases to spread to new areas as rising temperatures allow them to survive. The chikungunya virus reached Italy this summer, the first time in mainland Europe, through mosquitoes. Seventy-eight cases have been confirmed and 250 more are suspected. Up to now the virus has been present in East Africa, SouthEast Asia and the Indian subcontinent.

Dr Menne will highlight the issue of malnutrition, which is expected to have its biggest impact in sub-Saharan Africa through crop failures and natural disasters, which are forecast to increase in number and intensity.

The predictions, at the meeting in London of the UN’s International Panel on Climate Change, (IPCC) come amid growing scientific concern about the way global warming will affect people’s lives. Scientists discussed a 980-page document containing the detailed findings of the IPCC Working Group II, which published a 15-page summary in April.

“The choice is now between a future with a damaged world and a future with a severely damaged world,” said Professor Martin Parry, of the Met Office and joint chairman of the working group. “It’s quite striking how big the challenge is. It’s not so long ago that we were all talking about how our children and grandchildren would be affected by climate change. Now, looking at this evidence, it’s in our own lifetimes.”

More here.

From Edge:

Last year, in My Einstein, a book of essays by twenty-four leading thinkers, I asked each of the contributors to share their thoughts on who is their Einstein. This led me to ask the same questions to the Edge symposium participants.

BRIAN GREENE: When it comes to Albert Einstein, his contributions are of such incredible magnitude that to get inside his head, and even for a moment to get a feel for what it would be like to see the world with such clarity and such insight, would be amazing. But if I was going to ask him one question, I would probably stick to one a little bit more down to earth, which is—he famously said that when it came to the general theory of relativity, in some sense he wasn’t waiting for the data to show whether it was right or wrong; the theory was so beautiful that it just had to be right. And when the data came in and confirmed it, he claimed he wasn’t even surprised, he in fact famously said that had the data turned out differently, he would have been sorry for the [dear lord?] because the theory was correct. That’s how much faith he had in theory.

So the question I have is, we, many of us, are working on Einstein’s legacy in a sense, which is trying to find the unified theory that he looked for such a long time and never found, and we’ve been pursuing an approach called super string theory for many years now. And it is a completely theoretical undertaking. It is completely mathematical. It has yet to make contact with experimental data. I would like to ask Einstein what he would think of this approach to unification. Does he see the same kind of beauty, the same kind of elegance, the same kind of powerful incisive ideas in this framework to give him the confidence that he had in the general theory of relativity?

More here.

From The New York Times:

The farewell ceremony for Chief Justice William Rehnquist at the United States Supreme Court in September 2005 offers the kind of monumental tracking shot authors adore. Neatly and conveniently arrayed that day on the marble steps leading into the building, standing, by tradition, in reverse order of seniority, the justices line up. As some of Rehnquist’s former law clerks (his soon-to-be successor, John Roberts, among them) carry his casket past his former colleagues, Jeffrey Toobin follows the procession, freezing on each of the justices, then introducing them in turn.

But to anyone who watches the court, or watches those who watch it, Toobin’s descriptions afford something else, arguably even more interesting: the chance to ponder which of those justices talked to him for this book, and which did not. And talk to him some of them clearly did. Without their off-the-record whispers, there would be no “inside” story of any “secret” world to tell in “The Nine: Inside the Secret World of the Supreme Court.”

Of course, the myth is that the justices sit sealed on their Olympian perches, forever mum. In truth, some talk when it suits them, to toot their own horns, unburden their souls, allay their loneliness or justify something they’ve done.

More here.

All grand churches, whether St. Peter’s in Rome or the Frauenkirche in Dresden, have a history; Cologne Cathedral has a career. Begun in the Middle Ages, the building stayed unfinished for centuries. Its facade remained without any real relationship to the chancel, and even after the bells were installed in 1437 the South Tower was still just a stump that – augmented by a crooked building crane – formed an eccentric urban landmark right through into the nineteenth century. Not until the Romantic rediscovery of Gothic and the Middle Ages did this torso become a magnet for patriotic yearnings and religious raptures. These – and Kaiser Wilhelm I too – we have to thank for the completion of the Gothic cathedral in its historic style, which was finally brought to an end in 1880. In this simulated perfection the cathedral became the symbol of German unification, and this is where the building’s career began. Cologne Cathedral – picture-postcard-perfect World Cultural Heritage – stands beside the Rhine, the German river, and as such it has come, especially for foreigners, to be the object that is identified most with German art and culture, comparable only with Schloss Neuschwanstein.

The sharp breaks and changing expectations of the cathedral’s history need to be mentioned, because it has now been enriched by a new and unexpected chapter that promises a career of a different kind: Gerhard Richter’s new window for the South Transept.

more from Sign and Sight here.

“For a hundred years or more the world, our world, has been dying, and not one man, in these last hundred years or so, has been crazy enough to put a bomb up the asshole of creation and set it off.”

In 1930, one crazy man wrote those words, and some thirty-five years later, he detonated that bomb—at least in literary terms.

In June of 1965, Henry Miller was the author of the top five bestselling books in America. There was a reason for it, of course. A tidal wave of publicity accompanied the 1963 Supreme Court decision lifting the decades-old ban on Miller’s more controversial works, and now they were available (legally) for the first time. On the downside, those five books (Quiet Days in Clichy, The World of Sex, and the three volumes of The Rosy Crucifixion)— even more than Tropic of Cancer, whose 1961 publication led to the Supreme Court case—solidified the then-73 year-old Miller’s reputation as The King of Smut. It was a grossly undeserved reputation.

more from Context here.

“A liberated woman,” said Karl Kraus, “is a fish that has fought its way ashore.” Even at the time, there were women, some of them among his cheer-squad of beautiful mistresses, who thought he was talking through his hat. Agree with him or not, however, you wouldn’t mind being able to say something that sharp. Kraus was famous for being able to do so whenever he wanted, but eventually, as with his hero Oscar Wilde, his fame as a wit was there instead of the full, complex, tormented and deeply contemplative man. As a writer and practitioner of the higher journalism, he is still up there with all the other great names of literary Vienna – Arthur Schnitzler, Robert Musil, Joseph Roth – but up there for what, precisely?

more from clivejames.com here.

For Justin:

[H/t: Roop]

From Scientific American:

With her tiny earphones and slim digital player, Jakarta office worker Mira Indriarti looks like any other young music lover — only she’s not listening to the latest tunes, but to a recording of the Koran. Digital Koran is increasingly popular in Indonesia, the world’s most populous Muslim country, where such gadgets sell especially well during the fasting month of Ramadan when religious fervor is high and reading the scripture is an essential part of the observance.

Indriarti said she bought the gadget because she wanted to study the Koran to be a better Muslim. “I can listen to the recital or read the verses and the translation anywhere,” she said. “It’s uncomfortable if I read a Koran book on the bus and people around me may look at me in amazement.” The device, the size of an iPod digital player, carries the entire text of the Koran, in Arabic with an Indonesian translation, and its audio recitation. Fans say it provides a handy alternative to the bulky printed version of the holy book.

More here.