Mark Esposito, Landry Signé, and Nicholas Davis in Project Syndicate:

As massive online platforms have given rise to numerous virtual marketplaces, a gap has opened between the real and the digital economy. And by driving more people than ever online in search of goods, services, and employment, the coronavirus pandemic is widening it. The risk now is that a new digital industrial complex will hamper market efficiency by imposing rents on real-economy players whose daily operations depend on technology.

The premise of the Fourth Industrial Revolution (4IR) is that the tangible and intangible elements of today’s economy can coexist and create new productive synergies. The tangible side of the economy provides the infrastructure upon which automation, manufacturing, and complex trade networks rest, and intangibles – logistics, communication, and other software and Big Data applications – allow for these processes to achieve optimal efficiency.

More to the point, the tangible economy is a prerequisite for the intangible economy. Through digitalization, tangibles can become intangibles and then overcome traditional limitations on scale and value creation. While heavily transactional and capital-intensive, this process hitherto has been a positive mechanism for growth, providing some equity of opportunities for small and large countries alike.

But this standard account of the 4IR omits the recent decoupling of the digital and real sectors of the economy.

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Taylor White in Undark:

This spring, the biotechnology company Oxitec plans to release genetically modified (GM) mosquitoes in the Florida Keys. Oxitec says its technology will combat dengue fever, a potentially life-threatening disease, and other mosquito-borne viruses — such as Zika — mainly transmitted by the Aedes aegypti mosquito.

While there have been more than 7,300 dengue cases reported in the United States between 2010 and 2020, a majority are contracted in Asia and the Caribbean, according to the U.S. Centers for Disease Control and Prevention. In Florida, however, there were 41 travel-related cases in 2020, compared with 71 cases that were transmitted locally.

Native mosquitoes in Florida are increasingly resistant to the most common form of control — insecticide — and scientists say they need new and better techniques to control the insects and the diseases they carry. “There aren’t any other tools that we have. Mosquito nets don’t work. Vaccines are under development but need to be fully efficacious,” says Michael Bonsall, a mathematical biologist at the University of Oxford, who is not affiliated with Oxitec but has collaborated with the company in the past, and who worked with the World Health Organization to produce a GM mosquito-testing framework.

Bonsall and other scientists think a combination of approaches is essential to reducing the burden of diseases — and that, maybe, newer ideas like GM mosquitoes should be added to the mix. Oxitec’s mosquitoes, for instance, are genetically altered to pass what the company calls “self-limiting” genes to their offspring; when released GM males breed with wild female mosquitoes, the resulting generation does not survive into adulthood, reducing the overall population.

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Witold Rybczynski in The Hedgehog Review:

Buildings’ nicknames are the public’s attempt to make sense of the incomprehensible. Several odd-looking London skyscrapers have cheekily illustrative monikers: the Gherkin, the Cheesegrater, the Walkie-Talkie. Angelenos call the mammoth Pacific Design Center the Blue Whale. Beijingites offhandedly refer to the headquarters of China Central Television as Big Underpants. A Shanghai skyscraper with an aperture at the top is the Bottle Opener, and Bilbao has the Artichoke, Frank Gehry’s titanium Guggenheim museum. My favorite is the nickname of an addition to the Stedelijk Museum in Amsterdam—the Bathtub.

The original Stedelijk Museum, or city museum, was built in 1895 in the style of the sixteenth-century Dutch Renaissance. The gingerbread red-brick building with pale stone stripes is pretty as a picture. The 2012 modern addition, which doubled the size of the museum, is the work of the Amsterdam architectural firm Benthem Crouwel. The competition-winning design ignores its neighbor and obviously aspires to be the Dutch equivalent of the Bilbao Guggenheim, an in-your-face architectural icon. From certain angles, the windowless white form, raised in the air and covered in a reinforced synthetic fiber finished in glossy white paint, really does resemble a giant hot tub. Michael Kimmelman of the New York Times observed that “entering an oversize plumbing fixture to commune with classic modern art is like hearing Bach played by a man wearing a clown suit.” Not good.

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Maya Gurantz in the Los Angeles Review of Books:

Buy me a drink and I’ll break down for you my new obsession: the abuse documentary. It’s a new genre, it’s everywhere on streaming media, and I’ve watched them all.

I can describe the precise differences between Part I of Surviving R. Kelly and Part II: The Reckoning; at precisely what point the second half of the series The Keepers loses its initial unrelenting momentum; what makes Lorena, about the Bobbitt case, best of genre; what makes On the Record, about music executive Russell Simmons, peak #MeToo; how Leaving Neverland, the four-hour-long two-parter about Michael Jackson’s pedophilia is critically enhanced by the coda of the Oprah Winfrey-hosted, talk show-format After Neverland; why Seduced, about Keith Raniere and the NXIVM cult, is an abuse doc; why The Vow, about Keith Raniere and the NXIVM cult, isn’t; why the two separate Jeffrey Epstein series (Surviving Jeffrey Epstein and Jeffrey Epstein Filthy Rich) both oddly feel like we’re jumping the shark a bit; and how two Larry Nassar documentaries, At the Heart of Gold and Athlete A, can hit so many identical beats while coming to such entirely different conclusions. You might think I’ve fallen behind this past month, what with the release of the four-part Allen v Farrow and the 8-episode CBC Podcast Evil by Design (about Peter Nygard, the “Canadian Jeffrey Epstein”), but don’t you worry. I’m all caught up.

How did the unraveling of serial sexual abuse become a blockbuster genre? What constitutes its formal newness, on the one hand, and its connection to a rich lineage of American sentimental storytelling about women’s injury on the other?

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Summer

Winter is cold-hearted,
Spring is yea and nay,
Autumn is a weathercock
Blown every way.
Summer days for me
When every leaf is on its tree;

When Robin’s not a beggar,
And Jenny Wren’s a bride,
And larks hang singing, singing, singing,
Over the wheat-fields wide,
And anchored lilies ride,
And the pendulum spider
Swings from side to side;

And blue-black beetles transact business,
And gnats fly in a host,
And furry caterpillars hasten
That no time be lost,
And moths grow fat and thrive,
And ladybirds arrive.

Before green apples blush,
Before green nuts embrown,
Why one day in the country
Is worth a month in town;
Is worth a day and a year
Of the dusty, musty, lag-last fashion
That days drone elsewhere.

by Christina Rossetti
from the National Poetry Library

Melissa Mohr in The Christian Science Monitor:

In February, the rover Perseverance arrived on Mars after an almost eight-month journey, tasked with looking for signs of ancient life. Though no firm evidence of life beyond Earth has yet been found, the English language is already full of words to talk about it. The search for life on other planets is part of the science of astrobiology. The prefix astro- is “star” in Latin and Greek and, predictably, appears in astronomy, the study of objects beyond the Earth’s atmosphere.

Astrobiologists aren’t just looking for microbes on Mars. They are also trying to predict what life might look like under conditions vastly different from those on Earth. Physicists Luis Anchordoqui and Eugene Chudnovsky speculate that there might be life inside stars, for example. Hypothetical particles called magnetic monopoles might assemble into chains and 3D structures, and be able to replicate by using energy from the star’s fusion. This is not “life as we know it,” to misquote “Star Trek,” but these particle chains would be “alive” at least by some definitions. A group of astrobiologists has proposed a term that would more obviously include “creatures” like these, so unlike anything found on Earth: lyfe. Lyfe (pronounced “loife”) is a broader category that would encourage scientists to think outside the box, to “open [them]selves up to exploring the full parameter space of physical and chemical interactions that may create life,” write Stuart Bartlett and Michael Wong.

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Adrienne Mayor in Lapham’s Quarterly:

How long have we been imagining artificial life? A remarkable set of ancient Greek myths and art shows that more than 2,500 years ago, people envisioned how one might fabricate automatons and self-moving devices, long before the technology existed. Essentially some of the earliest-ever science fictions, these myths imagined making life through what could be called biotechne, from the Greek words for life (bio) and craft (techne). Stories about the bronze automaton Talos, the artificial woman Pandora, and other animated beings allowed people of antiquity to ponder what awesome results might be achieved if only one possessed divine craftsmanship. One of the most compelling examples of an ancient biotechne myth is Prometheus’ construction of the first humans.

Prometheus was first introduced in Hesiod’s poems, written between 750 and 650 bc, and about two dozen Greek and Latin writers retold and embellished his story. From earliest times Prometheus was seen as the benefactor of primitive humankind. One familiar rendering of the Prometheus myth was featured in the Athenian tragedy Prometheus Bound, attributed to Aeschylus, circa 460 bc. The play opens with the blacksmith god Hephaestus reluctantly chaining Prometheus to a rock at the end of the world. The chorus asks Prometheus why he is being punished. “I gave humans hope,” he replies, “so they may be optimistic, and taught them the secrets of fire, from which they may learn many crafts and arts (technai).”

But fire was the sacred possession of the immortals, and Zeus, the tyrannical king of the gods, took harsh revenge on Prometheus for stealing fire for the benefit of mere mortals, sending an eagle to gnaw eternally at his liver. The technology of fire gave humans some autonomy from their divine creators—now they could invent language, plan cooperatively, make tools, protect themselves from the elements and from each other, and increasingly manipulate the world around them according to their own desires. In time Prometheus’ gifts were expanded to include writing, mathematics, medicine, agriculture, domestication of animals, mining, science—in other words, all the arts of civilization. We might say that by giving men and women this basic technology, Prometheus opened the door for humans—themselves products of divine biotechne—to begin engaging in their own biotechne.

By the fifth century bc, the Athenians were venerating the rebel Prometheus and his precious gifts of fire and technology alongside the city’s favorite gods, Athena and Hephaestus.

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Olivia Laing at The Guardian:

What Reich wanted to understand was the body itself: why you might want to escape or subdue it, why it remains a naked source of power. His wild life draws together aspects of bodily experience that remain intensely relevant now, from illness to sex, anti-fascist direct action to incarceration. The writer and civil rights activist James Baldwin read Reich, as did many of the second-wave feminists. Susan Sontag wrote Illness As Metaphor as a riposte to his theories about health, while Kate Bush’s song “Cloudbusting” immortalises his battle with the law, its insistent, hiccupping refrain – “I just know that something good is going to happen” – conveying the compelling utopian atmosphere of his ideas.

Reich believed that the emotional and the political directly impact our bodily experience, and he also thought that both realms could be improved, that Eden could even at this late juncture be retrieved. He was vilified in his own era, sometimes for good reason, but many of his ideas still hum and wriggle with life.

more here.

Parul Sehgal at the NYT:

The curtain rises on a dim, drab room. An alarm sounds, and a woman wakes. She tries to rouse her sleeping child and husband, calling out: “Get up!”

It is the opening scene — and the injunction — of Lorraine Hansberry’s 1959 play “A Raisin in the Sun,” the story of a Black family living on the South Side of Chicago. “Never before, in the entire history of the American theater, had so much of the truth of Black people’s lives been seen on the stage,” her friend James Baldwin would later recall. It was the first play by a Black woman to be produced on Broadway. When “Raisin” won the New York Drama Critics’ Circle award for best play, Hansberry — at 29 — became the youngest American and the first Black recipient.

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Achin Vanaik in Jacobin:

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Adam Tooze in the LRB:

Paul​ krugman’s latest collection of essays, Arguing with Zombies, first appeared in January 2020. Not only was it quickly buried by Covid, but he missed out on a thing all too rare for a pundit: the opportunity to declare victory. A year later, in Joe Biden’s Washington, Krugmanism rules. The gigantic scale of the $1.9 trillion Biden rescue plan, and now the proposed $2 trillion infrastructure investment programme, are testament to a rearrangement of the relationship between economic expertise and politics in the Democratic Party, a rearrangement which Krugman anticipated and for which Arguing with Zombies makes a powerful case.

In the 1990s the lines were clearly drawn. The Democrats were a party of fiscal rectitude and trade globalisation. They had the weight of academic economic opinion behind them. Krugman was one of the cheerleaders and enforcers of that dispensation: the job of brilliant economists with a quick pen was to guard the true knowledge against deviations to the left and the right. It isn’t by accident that Jed Bartlet – the fictional president in The West Wing, the TV fantasy that sustained liberal America during the dark Bush years – was a genial economics professor and Nobel laureate. It was a fantasy. The synthesis of brains, wisdom and power embodied in Bartlet didn’t stand up to 21st-century realities. Today, Krugman tells us, ‘everything is political.’ He has come to accept that ‘the technocratic dream – the idea of being a politically neutral analyst helping policymakers govern more effectively – is, for now at least, dead.’

Breaking with the technocratic assumptions of the Clinton era and the early Obama years has been an attritional process. In Krugman’s case it is the end of an arc that spans half a century. He is no longer at the height of his influence, but he still has huge reach through his New York Times column and on Twitter, where he has a staggering 4.6 million followers. For critics on the left it can be infuriating to watch high-powered centrists inching their way towards seemingly obvious political conclusions. But when they do, it is consequential. By tracing Krugman’s itinerary, we can shed some light on how we arrived in our current situation, with three centrists – Biden, Janet Yellen and Jerome Powell – undertaking an experiment in economic policy of historic proportions.

More here.