Joshua Rothman at The New Yorker:

Most science fiction takes place in a world in which “the future” has definitively arrived; the locomotive filmed by the Lumière brothers has finally burst through the screen. But in “Neuromancer” there was only a continuous arrival—an ongoing, alarming present. “Things aren’t different. Things are things,” an A.I. reports, after achieving a new level of consciousness. “You can’t let the little pricks generation-gap you,” one protagonist tells another, after an unnerving encounter with a teen-ager. In its uncertain sense of temporality—are we living in the future, or not?—“Neuromancer” was science fiction for the modern age. The novel’s influence has increased with time, establishing Gibson as an authority on the world to come.

The ten novels that Gibson has written since have slid steadily closer to the present. In the nineties, he wrote a trilogy set in the two-thousands. The novels he published in 2003, 2007, and 2010 were set in the year before their publication. (Only the inevitable delays of the publishing process prevented them from taking place in the years when they were written.) Many works of literary fiction claim to be set in the present day. In fact, they take place in the recent past, conjuring a world that feels real because it’s familiar, and therefore out of date. Gibson’s strategy of extreme presentness reflects his belief that the current moment is itself science-fictional. “The future is already here,” he has said. “It’s just not very evenly distributed.”

more here.

Neil Levy in Aeon:

People engage in moral talk all the time. When they make moral claims in public, one common response is to dismiss them as virtue signallers. Twitter is full of these accusations: the actress Jameela Jamil is a ‘pathetic virtue-signalling twerp’, according to the journalist Piers Morgan; climate activists are virtue signallers, according to the conservative Manhattan Institute for Policy Research; vegetarianism is virtue signalling, according to the author Bjorn Lomborg (as these examples illustrate, the accusation seems more common from the Right than the Left). Accusing someone of virtue signalling is to accuse them of a kind of hypocrisy. The accused person claims to be deeply concerned about some moral issue but their main concern is – so the argument goes – with themselves. They’re not really concerned with changing minds, let alone with changing the world, but with displaying themselves in the best light possible. As the journalist James Bartholomew (who claimed in 2015 to have invented the phrase, but didn’t) puts it in The Spectator, virtue signalling is driven by ‘vanity and self-aggrandisement’, not concern with others.

Ironically, accusing others of virtue signalling might itself constitute virtue signalling – just signalling to a different audience. Whether it should be counted as virtue signalling or not, the accusation does exactly what it accuses others of: it moves the focus from the target of the moral claim to the person making it. It can therefore be used to avoid addressing the moral claim made. Here, though, I want to consider a different issue. In the only full treatment of the topic in the academic literature (that I know of), the philosophers Justin Tosi and Brandon Warmke accuse the ‘moral grandstander’ (their term for the virtue signaller) of perverting the function of public moral discourse. According to them, ‘the core, primary function that justifies the practice’ of such public moral discourse is ‘to improve people’s moral beliefs, or to spur moral improvement in the world’. Public moral talk aims to get others to see a moral problem they hadn’t noticed before, and/or to do something about it. But, instead, virtue signallers display themselves, taking the focus away from the moral problem. Since we often spot virtue signalling for what it is, the effect is to cause cynicism in the audience, rather than to induce them to think the signaller is so great. As a result, virtue signalling ‘cheapens’ moral discourse.

More here.

XiaoZhi Lim in Nature:

When businessman Howard Bisla was tasked with saving a local shop from financial ruin, one of his first concerns was energy efficiency. In June 2018, he approached his local electricity provider in Sacramento, California, about upgrading the lights. The provider had another idea. It offered to install an experimental cooling system: panels that could stay colder than their surroundings, even under the blazing hot sun, without consuming energy. The aluminium-backed panels now sit on the shop’s roof, their mirrored surfaces coated with a thin cooling film and angled to the sky. They cool liquid in pipes underneath that run into the shop, and, together with new lights, have reduced electricity bills by around 15%. “Even on a hot day, they’re not hot,” Bisla says.

The panels emerged from a discovery at Stanford University in California. In 2014, researchers there announced that they had created a material that stayed colder than its surroundings in direct sunlight¹. Two members of the team, Shanhui Fan and Aaswath Raman, with colleague Eli Goldstein, founded a start-up firm, SkyCool Systems, and supplied Bisla’s panels. Since then, they and other researchers have made a host of materials, including films, spray paints and treated wood, that stay cool in the heat.

More here.

They Feed They Lion

Out of burlap sacks, out of bearing butter,
Out of black bean and wet slate bread,
Out of the acids of rage, the candor of tar,
Out of creosote, gasoline, drive shafts, wooden dollies,
They Lion grow.
……………………….Out of the gray hills
West Virginia to Kiss My Ass, out of buried aunties,
Mothers hardening like pounded stumps, out of stumps,
Out of the bones’ need to sharpen and the muscles’ to stretch,
They Lion grow.
……………………….Earth is eating trees, fence posts,
Gutted cars, earth is calling in her little ones,
“Come home, Come home!” From pig balls,
From the ferocity of pig driven to holiness,
From the furred ear and the full jowl come
The repose of the hung belly, from the purpose
They Lion grow.
……………………….From the sweet glues of the trotters
Come the sweet kinks of the fist, from the full flower
Of the hams the thorax of caves,
From “Bow Down” come “Rise Up,”
Come they Lion from the reeds of shovels,
The grained arm that pulls the hands,
They Lion grow.
……………………….From my five arms and all my hands,
From all my white sins forgiven, they feed,
From my car passing under the stars,
They Lion, from my children inherit,
From the oak turned to a wall, they Lion,
From they sack and they belly opened
And all that was hidden burning on the oil-stained earth
They feed they Lion and he comes.

by Phillip Levine
from The Norton Anthology
W.W. Norton Company, 2003
___________________________

Phillip Levine, on the poem

Kenan Malik in Pandaemonium:

‘A poem is not a lecture; a story is not an argument. The way poems and stories work on our minds is not by logic, but by their capacity to enchant, to excite, to move, to inspire.’ So writes Philip Pullman in his introduction to John Milton’s Paradise Lost.

Milton’s epic remains one of the greatest retellings of the Christian story, a work that has mesmerised writers through the generations from William Blake to Pullman himself. Pullman’s His Dark Materials, the striking BBC adaptation of which ended its first series last week, reworks Paradise Lost, turning its moral message on its head. Milton’s poem tells the story of the Fall; of Satan’s banishment from heaven for leading a rebellion against God and of his revenge in corrupting Adam and Eve and hence all humans, by tempting them to eat of the fruit of the tree of knowledge of good and evil.

In His Dark Materials, knowledge is seen not as corrupting but as liberatory; it’s the desire to keep certain knowledge forbidden that corrupts. Deeper down, though, what links the two works is a common reverence for human dignity and a recognition of the complexity, both of humans and of storytelling.

Milton wrote Paradise Lost to ‘justify the ways of God to men’. The star of the work, however, is not God but Satan, fanatical and malevolent, yet heroic in a most tragic way. As Blake observed of Milton, he is “of the devil’s party without knowing it”.

More here.

Joseph Epstein in First Things:

I am not altogether incurious, but one entity about which I have over the years felt little curiosity is my own body. Until recently, I could not have told you the function of my, or anyone else’s, pancreas, spleen, or gallbladder. I’d just as soon not have known that I have kidneys, and was less than certain of their exact whereabouts, apart from knowing that they reside somewhere in the region of my lower back. As for my entrails, the yards of intestines winding through my body, the less I knew about them the better, though I have always liked the sound of the word “duodenum.” About the cells and chromosomes, the hormones and microbes crawling and swimming about in my body, let us not speak.

For better and worse, these deficiencies in my knowledge have been addressed by a splendid book by Bill Bryson called The Body: A Guide for Occupants. The book is an account of human parts, inside and out, and what is known and still unknown about them. It catalogues the diseases and mechanical failures to which flesh is heir; establishes a pantheon of heroic medical researchers and a rogues’ gallery of quacks; sets out some of the differences between humans and other mammals and between the male and female of our own species—and does all this in a ­fluent, often amusing, never dull manner. The point of view is ironical yet suffused with awed appreciation for that endlessly complex machine, the human body.

More here.

Chiki Sarkar in Scroll.in:

The last time I saw Sonny Mehta was October 2018. I was pregnant with my second child and was in New York for a short trip. Come and get me for a drink, he said. And so I went to the Knopf offices on Broadway to pick him up.

We walked across the street to a brasserie for a drink. Sonny didn’t usually talk much, but that day he talked and talked and talked. He had just won a lifetime achievement award and was in an introspective mood.

He talked about his early days in publishing, how hard it was for an Indian to break through the very white private school ranks of British publishing as a young graduate just out of Cambridge in the ’60s. He talked, too, a little about his childhood. The years in boarding school, with a diplomat father who was posted abroad, the itinerant childhood.

Sonny talked of SI (Samuel Irving) Newshouse of Condé Nast flying him to New York to offer him the job at Knopf after he had made a name for himself creating Pan, one of the earliest paperback imprints in UK; how hard it was for him in those early years at Knopf, with New York’s cultural elite trying to pull him down with pleased whispers of his impending sacking; how he now saw that moment as an act of terrified racism. Then he spoke of the difficult days, when Bertelsmann bought Random House from Condé Nast , leaving him wondering if he was out of a job.

More here.

Rafil Kroll Zaidi in Harper’s:

Knees in Asia are the most likely to have a fabella, and knees in Africa are the least. The humerus can be used to determine the sex of a Thai skeleton. A French courtship researcher retracted his paper titled “High Heels Increase Women’s Attractiveness,” and female In­stagram influencers were found to face criticism for seeming both too real and too fake. Male green-veined white butterflies use volatile flower compounds to create the anti-­aphrodisiac pheromone they transfer to females during mating to make them unattractive to other males. The loudest known avian vocalization was observed among male white bellbirds of the northern Amazon, who scream their crescendo directly at females perched next to them; the study’s authors expressed uncertainty as to why the females put up with the risk of hearing damage. Researchers denominated three essential categories of arrogance and found that narcissists are less prone to depression. Escapism predicts problematic online gaming. Scientists offered a path to freedom for an all-male colony of wood ants who were trapped for years in an abandoned Polish nuclear bunker but had continued to thrive because of cannibalism. Doctors expressed concern that men might unnecessarily second-­guess medical advice by soliciting opinions from Reddit users about photos of their diseased penises. Itchiness makes Europeans about twice as likely to contemplate suicide.

Children find bearded men strong but unattractive and apply the attribute of “brilliance” preferentially to men, but not if they are black. Reward-based labora­tory experiments for assessing animal cognition may not test animals’ actual intelligence.

More here.

Derek Thompson in The Atlantic:

The 2020 election will be unprecedented, no matter what. Either President Donald Trump’s victory will shatter expectations and academic theories, or his defeat will. If Trump wins in 2020, he will be the first and only impeached president to win reelection. Barring a major change in national polls, he will also be the first president to be elected twice without once winning the popular vote. And if he loses? It would mark “the greatest presidential fumble of economic and market tailwinds in modern history,” according to Michael Cembalest of J.P. Morgan. A traditional formula for predicting modern presidential elections goes like this: The national economy determines the national vote. Strong economies have historically favored the incumbent candidate or party. Weak economies, or even brief dips, have helped the challenge.

…As for 2020, unemployment is at its lowest point in more than 60 years. The S&P 500 has tripled in the past decade. Wage growth, while still somewhat disappointing, is rising fastest for full-time low-income workers. In a vacuum, this would augur a reelection landslide for the sitting president. According to Cembalest’s index of economic strength—combining data on unemployment levels, home prices, per capita GDP, stock-market growth, and inflation—“Trump as an incumbent benefits from the strongest tailwinds” since 1896. (Bill Clinton’s reelection year of 1996 comes close, but unemployment and inflation were higher, and home values and the stock market were only on the cusp of their late-’90s boom.)

But Trump isn’t the only force of unprecedented-ness. If he loses to the current front-runner, Joe Biden will violate another soft law of American politics: the Rule of 14. As Jonathan Rauch wrote in The Atlantic: “No one gets elected president who needs longer than 14 years to get from his or her first gubernatorial or Senate victory to either the presidency or the vice presidency.” Zero political experience is just fine with Americans. But too much is not.

More here.

Ed Simon at berfrois:

The approach of a decade’s end draws the mind to those sorts of considerations, the way in which the arbitrary conclusion of a certain segment of calendrical time imposes order onto the disorder of human events. Our approaching decade’s conclusion is the rare variety of prediction that necessarily and by definition shall absolutely come to pass (even if all the missiles should go off before the Times Square ball drops).

Since it was always a matter of contingent decision, the arrival of January 1^st, 2020 was foretold the moment that the Gregorian Calendar was adopted (1582 in France, Italy, and the Hapsburg lands; 1750 in Great Britain and her colonies; 1918 in the newly established USSR). Its arrival was of course foretold the moment the previous Julian Calendar had been established as well, albeit anyone still counting from that archaic system won’t see the new decade until the date of January 13^th in our calendar. We can’t help but think in those decimal units of decades, centuries, millennia, and we assume that as an organizing principle they help us understand things about human alteration, about shifts and changes in culture, society, politics, technology, and so on.

more here.

Laura Glen Louis at The Hudson Review:

Written in 1947, Klein’s Monotone-Silence Symphony has been performed in Paris, New York City, and most recently, at the National Gallery in Washington, D.C., for a total of some ten performances—occurrences more rare than a solar eclipse. Now at a cathedral near me. A few years ago, wanting to branch out from the Baroque, Classical and Romantic repertoire that I had been singing, I joined an a cappella chamber chorus that performs only new music, nothing written before 1980. I love dissonance, crunches, uncommon intervals, uncommon and shifting meters, cascading tritones, so when an email came from a music blogger not to attend the Klein but to sing in it—I jumped.

Yves Klein. Painter. Creator of the vibratory International Klein Blue (IKB), 1960. An orchestra struck up the D major chord in the Parisian premiere. Nude female models strode into the gallery, coated their breasts, bellies, thighs with IKB and pressed themselves full frontal onto canvases spread on the floor or mounted on the wall, years before the 1967 Off-Broadway debut of Hair.

more here.

Sean Hill at The New England Review:

And flags change or, rather, are subject to change. As I mentioned before, the Georgia state flag I grew up with featured the Confederate battle flag. We learned the stories behind the Betsy Ross flag with its thirteen stars and the current United States flag and its fifty stars, but how we came to have the state flag I grew up with wasn’t taught in school. Turns out Georgia didn’t have an official flag until 1879. Before that, it had a state seal, which was adopted in 1799, and local militias had to incorporate the coat of arms from the state seal into their hand-sewn banners. That 1879 flag, Georgia’s first official state flag, was modeled on the Stars and Bars, the first national flag of the Confederacy. The Confederacy itself changed its flag several times during the war, and the flag of Robert E. Lee’s army, the Confederate battle flag, was incorporated into subsequent iterations. In 1956 the Georgia General Assembly changed the state flag, replacing the bars on the field with the Confederate battle flag itself. Some lawmakers claimed they wanted to honor Confederate soldiers for the then upcoming centennial of the Civil War. But given that the legislation to change the flag came on the heels of the landmark Brown v. Board of Education decision, placing the Confederate battle flag on the state flag seems to make a pretty clear statement of how those lawmakers and many of their constituency felt about integration. It was an expression of their support of the Confederacy’s white supremacist cause, then in the form of Jim Crow segregation. 

more here.

Greta Lafleur in Public Books:

Paul Takes the Form of a Mortal Girl tells a series of stories that we already know, but it achieves its familiar ends through decidedly unfamiliar means. Andrea Lawlor’s first novel presents us with the queer young adulthood of Paul, who possesses a seemingly magical skill: the ability to change form, to will his body into whatever shape he would like it to take.

Beginning in Iowa City—where Paul and his best friend, Jane, share beer, coffee, and clothes as they commiserate about the challenges of being sexually ambitious young queer people in a small, Midwestern college town—Lawlor’s novel quickly removes to Michigan, to New York, to Provincetown, and to San Francisco, following Paul in his search for fun and experience throughout a geography familiar to many who were queer in the 1990s. And with every new setting, a new body: Paul proves a most effective sexual chameleon—jokingly referring to himself as a “replicant” and a “T-1000” (in the cultural idiom of the decade)—by changing form from leatherman to twink, femme dyke to punk faggot, depending on the social milieu and what seems most likely to get him laid.

Because of its locations, its desires, and its literary influences, this is a novel that creaks with the weight of familiarity; this is not a fault.

More here.

Benjamin Liebeskind at The New Atlantis:

The answer is that the last century of science has partially recapitulated Aristotle’s teachings on nature, for the most part unwittingly. Since roughly the turn of the twentieth century, the scientific enterprise has focused not only on the elemental, but increasingly also on large-scale phenomena: solids, fluids, organisms, ecosystems, human behavior, and computing machines. Scientists have often maintained that these systems cannot be understood solely in terms of action at the lowest levels of organization. Thus one hears of “systems theory” or “the theory of complex systems,” of “holism,” “irreducibility,” “downward causation,” “information theory,” and other musings from scientists that assert, to quote the physicist Philip Anderson, that “more is different” — that “the ability to reduce everything to simple fundamental laws does not imply the ability to start from those laws and reconstruct the universe.”

These challenges have unknowingly echoed Aristotle. For Aristotle’s science was concerned primarily with the difficulties that arise when we try to discern the causes of beings, of wholes. A return to his ideas, then, is no mere conceit of the fusty halls of academic philosophy, but a clamor coming from science itself. Seen in this light, the claims in Neo-Aristotelian Perspectives on Contemporary Science do not seem quite so radical. Indeed, one could claim that the authors are attempting to make more explicit what many scientists have been dancing around for a century.

more here.

Jerry Saltz at New York Magazine:

The art of Bill Traylor comes to us with the ghosts of slave ships, lynchings, chain gangs, Jim Crow, justice denied — an American night-story without end. Born in Alabama in 1853, Traylor was 9 years old when Lincoln signed the Emancipation Proclamation and 12 when slavery was abolished with the 13th Amendment. He bore his owner’s name for life and resided for 55 years near the plantation where he was born; then he moved to nearby Montgomery County, where he remained until his death in 1949. In 1927 or 1928, he moved alone to the city of Montgomery, and in 1929, his son was killed by police. Ten years later, when Traylor was 85 and essentially homeless, he began to draw and paint on the streets of Montgomery, and a massive arc of art as powerful and profound as any in the 20th century shot out of him. His drawings and paintings in ink, pencil, and gouache were made on found cardboard, candy-box tops, and other odds and ends. Today, only four years of his output remain, yet we have about 1,200 works.

more here.

Emily Witt at the LRB:

In the early 20th century, peyote and mescaline were embraced by mystics, who saw them as a way to stave off the alienation of modernity and what Jay calls ‘the loss of the sacred’ and ‘the tyranny of reason’. Aleister Crowley used peyote in his séances. Frederick Madison Smith, the grandson of Joseph Smith, the founder of the Mormon religion, explored it as a possible means of achieving religious ecstasy. Smith also lobbied against the prohibition of the peyote religion, which had grown since the 1890s and was now attracting opposition. After a bill to prohibit peyote was narrowly voted down in the Senate, representatives of the Cheyenne, Oto, Ponca, Comanche, Kiowa and Apache tribes gathered to sign the charter of incorporation of the Native American Church in 1918, which they hoped would give the peyote religion First Amendment protections. Despite repeated attempts at state and federal prosecution in the decades that followed, the church successfully defended itself until a Supreme Court case in the 1990s rescinded its rights. A backlash to the court’s decision resulted in the 1994 amendment to the American Indian Religious Freedom Act, which protects the church’s right to peyote in federal law, though attempts at local bans have continued.

more here.

Julia Alexander in The Verge:

Emily Dickinson’s poems are obsessed with youthful themes: fame, popularity, intense bouts of emotion and, of course, a fetishization of death. Her work isn’t changed in Dickinson. The stanzas are true to the source material. Modernizing the way characters speak to each other, but keeping the poems consistent, allows Dickinson’s words to feel more approachable for an audience that came into their own by way of Lil Peep Instagram live-streams and SoundCloud emo rap. Most brilliantly, Dickinson isn’t trying to be a teen show. That’s precisely why it works as one. It kind of stumbles into itself, finding its footing along the way. There isn’t any clear direction or structure to help it stay on the same path. Dickinson doesn’t shy away from ludicrousness, but leans into it unabashedly. It’s an “unapologetic, crying on the floor at two in the morning, flirting with the fetishization of death even when floating on the undeniable highness of life” type of disaster.

That’s especially true when it comes to Emily’s forbidden relationship with Sue. Steinfeld and Hunt charm whenever they’re on-screen together, excellent at playing up grandeur expressions of their love for each other while putting just as much importance into the small gestures that cement their relationship. They’re giddy when with each other, full of sneaky kisses and uncontrollable giggles that define first loves. Although their relationship is forbidden, made harder by Sue’s engagement to Emily’s brother, Austin (Adrian Enscoe), it’s never tragic. Their obsession with each other is all-encompassing. Everything is carefree and in the moment. It’s not fraught with drama or cocooned in sadness the way other queer relationships on TV can be, especially with younger characters. Emily is upset by Sue’s engagement, but even that isn’t enough to drive them apart. They simply exist, together, now.

Dickinson is so unafraid of being itself that I found myself enamored by it, flaws and all, by the middle of the first episode.

More here.

Susan Goldberg in The National Geographic:

SAY THE WORDS “National Geographic,” and the first thing that comes to mind is photography.