The Epidemic of Wrongful Convictions in America

Elie Mystal in the New York Times:

ScreenHunter_3028 Apr. 04 19.05America’s bottomless fascination with “true crime” stories and “murder porn” has been capitalized on by some content creators seeking to inspire changes in the criminal justice system. But the genre tends to let the system itself off the hook. The titillating and gory details of any one case narrow readers’ focus onto particular bad actors, relegating law enforcement to a largely offscreen menace. Literature as a tool for social and legal reform further requires the reader to accept the author’s assertion that the highlighted case produced an incorrect result, which is a big ask in a country that can’t even agree on whether Han Solo shot first.

“The Cadaver King and the Country Dentist,” by the Washington Post journalist Radley Balko and Tucker Carrington, a law professor at the University of Mississippi, avoids these generic problems. There is no murder mystery. The book details the wrongful convictions of two men, Kennedy Brewer and Levon Brooks, in the separate murders of two girls in the same rural Mississippi town in the early 1990s. But the real killer of both 3-year-olds is revealed to the reader before the wrong men are even put on trial. We are also spared the anguish of wondering if the system will ever get it right, for we know the men have already been freed thanks to the work of the nonprofit criminal exoneration organization the Innocence Project.

The crime having been solved early on, Balko and Carrington devote the bulk of the book to pulling back the curtain on the justice system’s little-known but systemic problem that put Brewer and Brooks behind bars: faulty and biased forensic evidence. Junk science convicted these men; real science set them free. The inability of judges and jurors to tell the difference is why innocent men languish in jail while the prosecutors who put them there run for higher office.

More here.



On Harold Bloom’s new book on Shakespeare’s King Lear

William H. Pritchard in The New Criterion:

ScreenHunter_3027 Apr. 04 18.52Harold Bloom’s new book on King Lear is one in a series he is writing about Shakespeare’s personalities, including Hamlet, Falstaff, and Cleopatra.1 It is a short book of 160 pages, many of them taken up with long quotations from the play usually followed by rather brief comments from the critic. Those who have read Bloom on Shakespeare in previous books—Shakespeare, The Western Canon, The Anatomy of Influence—will find little here that is new except an even greater willingness on Bloom’s part to put himself front and center with utterances such as “It is pitiful that . . .” or “Who would not weep . . .” or “One wishes that . . .” as he takes us through the play. He even has sympathy for the absent Queen Lear: “How horrifying it would have been had she shared Lear’s privations, exposed out on the heath.” From his earlier books, we learn that Lear“ultimately baffles commentary”; that along with Hamlet it is “the height of literary experience”; and that the experience of reading it is (in a loaded word from Freud) “altogether uncanny.”

As in previous books, Bloom the critic operates through paraphrase and strong assertion, even as his posture has become increasingly isolated from other members of his profession. In The Anatomy of Influence, he lists those others in an exuberant way: “The usual rabblement: comma counters, ‘cultural’ materialists, new and newer historicists, gender commissars, and all the other academic impostors, mock journalists, inchoate rhapsodes, and good spellers.” Against them he has constituted himself “a department of one,” his main predecessor being, he admits modestly, Dr. Samuel Johnson.

More here.

‘I was a caricature of my worst traits’ – how brain cancer can affect the mind

Giulia Rhodes in The Guardian:

2641Dr Barbara Lipska was working at her computer one morning in January 2015 when her right hand suddenly disappeared. Having spent her 40-year career studying the human brain, she immediately knew just how bad this was. The neuroscientist was aware that the most likely explanation was a tumour in the area of her brain governing vision. Having twice overcome cancer – in the breast in 2009 and then melanoma three years later – the spread of the disease was already a frightening possibility.

So when Lipska’s doctor called the following morning to report the results of an emergency MRI scan – three tumours in the brain, one of them bleeding, suggesting metastatic melanoma – she was undoubtedly devastated, but not completely surprised.

The prognosis was “effectively a death sentence”. At her age, then 63, and with that number of tumours, she knew she could expect to have between four and seven months. Instead, three years later, Lipska remains the director of the Human Brain Collection at the National Institute of Mental Health in Maryland, is training for a summer triathlon and has written an account of her experiences. She hopes this will raise awareness of an aspect of her illness about which, even with her extensive professional experience, she knew very little. “The idea that I might lose my mind didn’t enter my thoughts and was never discussed,” she says. “All anyone focused on was that I might die.”

More here.

Wednesday Poem

Little by little, wean yourself.

This is the gist of what I have to say.

From an embryo, whose nourishment comes in the blood,
move to an infant drinking milk,
to a child on solid food,
to a searcher after wisdom,
to a hunter of more visible game.

Think how it is to have a conversation with an embryo.
You might say, "The world outside is vast and intricate.
There are wheatfields and mountain passes, and orchards in bloom.

At night there are millions of galaxies, and in sunlight
the beauty of friends dancing at a wedding."

You ask the embryo why he, or she, stays cooped up
in the dark with eyes closed.

Listen to the answer.
There is no "other world."
I only know what I've experienced.
You must be hallucinating.
.

Jelaluddin Rumi, 1207-1273
from A Book of Luminous Things
translated from the Persian by Coleman Barks

Coming to terms with Ezra Pound’s politics

Download (20)Evan Kindly at The Nation:

In December 1945, Ezra Pound was committed to St. Elizabeths Hospital in Washington, DC. He was then 60 years old, internationally famous, and under indictment for treason against the United States. In an infamous series of broadcasts made on Italian radio between 1941 and 1943, Pound had declared his support for Mussolini’s regime and his contempt for the Allied forces. He parroted fascist talking points but also added a layer of byzantine anti-Semitic conspiracy theory all his own. “You let in the Jew and the Jew rotted your empire, and you yourselves out-Jewed the Jew,” he admonished the British on March 15, 1942. In other broadcasts, Pound spoke of “Jew slime,” warned of the white race “going toward total extinction,” suggested hanging President Roosevelt (“if you can do it by due legal process”), praised Hitler’s Mein Kampf, and urged his listeners to familiarize themselves with The Protocols of the Elders of Zion.

Pound had arrived at this vicious ideological position gradually. His early work, while always concerned with the relations between art and society, had rarely been political per se. Over the years, though, his long poem The Cantos, started in 1915, had drifted from a preoccupation with mythological subjects to an investigation of economics and governance, influenced by heterodox economists like C.H. Douglas and Silvio Gesell. By the time the Second World War began, Pound had come to blame the practice of usury, propagated by a secret network of nefarious Jewish bankers, for all the evils afflicting the world.

more here.

are ancient artifacts sculpture?

Wagn01_4007_01Anne Wagner at the LRB:

But even the most exuberant combinations of colour, surface and texture don’t necessarily make an ordinary object a sculpture. If a handaxe qualifies, it is as both a spatial and a bodily thing. It is made to be held, and its shape declares that purpose, though in ways that aren’t easy to put into words. Imagine a two-sided tool that is also bilaterally symmetrical – something like a broad-bladed knife, though with one crucial difference. Though planar, the back of each handlaxe is is fuller than the front. There a slight bulge, a rounding, which seems both to echo and await its user’s cupped hand.

One persuasive reason to see at least some handaxes as sculpture stems from their nuanced and exacting display of formal goals. Their consistent use of symmetry is a case in point, given that such equilibrium isn’t particularly helpful where skinning prey and stripping bones are concerned. A double-edged tool doubles the risk of injury to the palm or fingers of the working hand. By these lights symmetrical axes put the threat of injury second to the pleasure presented by a well-balanced form.

These and other features help to explain not only why some handaxes seem exceptional but also why practical necessity alone doesn’t seem a sufficient explanation of their materials and forms.

more here.

Squeaky clean mice could be ruining research

Cassandra Willyard in Nature:

MiceOn an unseasonably warm February morning, Mark Pierson takes a 20-minute drive to one of Minneapolis’s larger pet shops. Pierson, a researcher in an immunology laboratory at the University of Minnesota, often comes here to buy mice, so most of the staff know him. Today he asks for ten, and an employee fishes them out of a glass box. Pierson requests the smaller mice because they’re typically younger, but he isn’t too picky. They probably all have what he wants: germs. These mice are about to enter one of the most tightly controlled labs in the country, a facility normally reserved for studying dangerous pathogens such as tuberculosis and chikungunya virus. The rodents probably don’t carry serious human infections, but they do harbour diseases that pose a grave threat to the hundreds of other research mice in the building. The pet-shop mice are about to get new room-mates. Each one will bunk with a group of shiny black lab mice, sharing food, water, bedding and, most importantly, pathogens. Until now, the lab mice have been kept in a squeaky clean environment, free from most diseases, so some will fall ill and die. The rest will develop more robust immune systems, more like those of wild mice — and, arguably, humans.

What Pierson is doing breaks the rules. For more than 50 years, scientists have worked to make lab mice cleaner. In most labs today, the animals’ cages are sanitized, and their water bottles and food are sterilized. “We really go to great lengths to keep natural infectious experience out of the mouse house,” says David Masopust, an immunologist at the University of Minnesota who heads the lab where Pierson works. Those efforts have paid off: with the confounding effects of pathogens controlled, mouse experiments have become less variable.

But a raft of studies now suggests that this cleanliness has come at a cost, leaving the rodents with stunted immune systems. In a quest for standardized and spotless mice, scientists have made the creatures a less-faithful model for human immune systems, which develop in a world teeming with microbes. And that could have serious implications for researchers working to usher treatments and vaccines out of the lab and into the clinic. Although it’s not yet possible to pin specific failures on the impeccable hygiene of standard mouse models, Masopust thinks the artificial environment must have some effect. It’s no secret that the success rate for moving therapies from animal to humans is abysmal — according to one estimate1, 90% of drugs that enter clinical trials fail. “You have to wonder if you might sometimes get misinformed simply because you’re in a clean environment,” says Masopust. That’s why he and other researchers are developing dirtier models that better replicate how the immune system develops in the natural world. Some groups have given their mice infections2,3, others a more natural microbiome4,5. But housing the dirtier mice can be risky. Pet-shop mice carry so many infections, it’s as if they came from “a Dickensian orphanage”, says Aaron Ericsson, a microbiome researcher at the University of Missouri in Columbia. Lab-animal caretakers take biosecurity very seriously and mice are a precious resource. “The last thing you’d want to do is have some sort of an outbreak.”

More here.

Tuesday, April 3, 2018

‘Magic, Illusions, and Zombies’: An Exchange between Daniel C. Dennett and Galen Strawson

Dan Dennett in the New York Review of Books:

75400I thank Galen Strawson for his passionate attack on my views, since it provides a large, clear target for my rebuttal. I would never have dared put Strawson’s words in the mouth of Otto (the fictional critic I invented as a sort of ombudsman for the skeptical reader of Consciousness Explained) for fear of being scolded for creating a strawman. A full-throated, table-thumping Strawson serves me much better. He clearly believes what he says, thinks it is very important, and is spectacularly wrong in useful ways. His most obvious mistake is his misrepresentation of my main claim:

If [Dennett] is right, no one has ever really suffered, in spite of agonizing diseases, mental illness, murder, rape, famine, slavery, bereavement, torture, and genocide. And no one has ever caused anyone else pain.

I don’t deny the existence of consciousness; of course, consciousness exists; it just isn’t what most people think it is, as I have said many times. I do grant that Strawson expresses quite vividly a widespread conviction about what consciousness is. Might people—and Strawson, in particular—be wrong about this? That is the issue.

He invokes common sense against which to contrast “the silliest claim ever made” (I’m honored!), but here is some other common sense that pushes back: when you encounter people who claim to have seen a magician saw a lady in half, counsel them to postpone their extravagant hypotheses—backwards time travel, multi-world wormholes, quantum entanglement, “real magic”—until they have exhausted the more mundane possibilities. Unrevolutionary science has discovered good explanations for such heretofore baffling phenomena as reproduction, metabolism, growth, and self-repair, for instance. So while it is possible that we will have to overthrow that science in order to account for consciousness, we should explore the default possibilities first.

More here.

Excerpts from Sean Penn’s book are here, and they are worse than can be imagined

Randall Colburn in The A. V. Club:

ScreenHunter_3026 Apr. 03 20.11“There is pride to be had where the prejudicial is practiced with precision in the trenchant triage of tactile terminations.”

No, this is not a tongue twister you’d hear muttered in the wings of a high school stage play. This is, no lie, just one of several deadening excerpts from Bob Honey Who Just Do Stuff, the debut novel of actor Sean Penn, who, terrifyingly, seems to be giving up acting in favor of poorly aping Thomas Pynchon and successfully embodying Charles Bukowski.

The 160-page novel tells the story of its namesake character, a septic tank entrepreneur and contract killer who Forrest Gumps his way through Hurricane Katrina, Baghdad at the outset of the Iraq War, and the “penis-edency” of a Donald Trumpian commander in chief. Huffington Post’s Claire Fallon describes it as “an exercise in ass-showing, a 160-page self-own.” Other reviews are kinder, if similarly unimpressed. The New York Times calls it “agonizing” and “conspicuously un-fun,” while Entertainment Weekly criticizes its “woozy gender politics” while dubbing it “shrill,” “confounding,” and “a little hypocritical.”

But one needn’t dig far to discover the dissertation’s most dunk-worthy declarations, which allow for an astonishing abundance of alliterative announcements.

More here.

What’s the Matter With Trumpland?

Paul Krugman in the New York Times:

Merlin_136168116_de53aaa1-4c0b-4c02-a013-926da89a818d-superJumboThese days almost everyone has the (justified) sense that America is coming apart at the seams. But this isn’t a new story, or just about politics. Things have been falling apart on multiple fronts since the 1970s: Political polarization has marched side by side with economic polarization, as income inequality has soared.

And both political and economic polarization have a strong geographic dimension. On the economic side, some parts of America, mainly big coastal cities, have been getting much richer, but other parts have been left behind. On the political side, the thriving regions by and large voted for Hillary Clinton, while the lagging regions voted for Donald Trump.

I’m not saying that everything is great in coastal cities: Many people remain economically stranded even within metropolitan areas that look successful in the aggregate. And soaring housing costs, thanks in large part to Nimbyism, are a real and growing problem. Still, regional economic divergence is real and correlates closely, though not perfectly, with political divergence.

But what’s behind this divergence? What’s the matter with Trumpland?

More here.

How We, The Indians, Came to Be

Tony Joseph in The Quint:

ScreenHunter_3025 Apr. 03 19.58Before you begin to read this, take a chair and sit down comfortably. Because this is going to take some time, and it is going to address some of the most fundamental questions about how we, the Indians, or South Asians more generally, came to be.

The answers you are going to read are taken from an extensive new study that has just been released, titled ‘The Genomic Formation of Central and South Asia’. It is co-authored by 92 scientists from around the world and was co-directed by Prof David Reich of Harvard Medical School. Reich runs a lab at Harvard that has no equal in its ability to sequence and analyse ancient DNA at scale and speed, and he has co-authored multiple studies in recent years that have changed the way we understand the prehistory of much of the world. His just-released book, ‘Who We Are and How We Got Here’, is currently making waves.

Among those 92 co-authors are scientists who are stars of an equal measure in their own disciplines, like James Mallory, archaeologist and author of the classic ‘In search of Indo-Europeans: Language, Archaeology and Myth’; and David Anthony, anthropologist and author of the ground-breaking ‘The Horse, The Wheel and the Language: How Bronze Age Raiders from the Eurasian Steppes Shaped the Modern World’.

Archaeobotanist Dorian Fuller and archaeologist Nicole Boivin are familiar names in India for the work they have done in the country.

More here.

Tuesday Poem

Tracks

Night, two o'clock: moonlight. The train has stopped
in the middle of the plain. Distance bright points of a town
twinkle cold on the horizon.

As when someone has gone into a dream so far
that he'll never remember he was there
when he come back to his room.

As when someone goes into a sickness so deep
that all his former days become twinkling points, a swarm,
cold and feeble on the horizon.

The train stand perfectly still.
Two o'clock: full moonlight, few stars.

by Tomas Tranströmer
from A Book of Luminous Things
Harcourt, 1996

How Joan Didion Became Joan Didion

Joan-didion-doc-3Michelle Dean at Buzzfeed News:

By the time Kazin’s profile was published, Didion was, quite simply, a star. But the Saturday Evening Post, the place that had let her write lyrically about migraines, about going home to Sacramento, or that flew her to Hawaii for a piece, had folded. She looked for other homes. Lifemagazine offered her a contract to write a column. But the relationship soured immediately; Didion asked to go to Saigon, because many writers—including Sontag and McCarthy—had already been there. Her editor demurred, telling her that “some of the guys are going out.” Her anger at this blithe dismissal turned into the now-famous column she wrote about visiting Hawaii during the prediction of a huge tidal wave:

My husband switches off the television set and stares out the window. I avoid his eyes, and brush the baby’s hair. In the absence of a natural disaster we are left again to our own uneasy devices. We are here on this island in the middle of the Pacific in lieu of filing for divorce.

This essay poses as self-revelation, but here the frame of marital trouble dissolves. Didion begins telling you instead how disconnected she had felt from everything, how difficult it was to feel. She confesses that she has become, as that old boyfriend predicted, someone who feels nothing. The piece is so relentlessly dark and despairing it is no wonder the Life editors were apparently startled by it. They gave it a title that reflected their bewilderment: “A Problem of Making Connections.”

more here.

the frankenstein problem

20180322_TNA54FohtbannerBrendan P. Foht at The New Atlantis:

There are few novels that have been more interpreted and re-­imagined than Frankenstein, and it has become something of a cliché in ­bioethics — especially in debates about embryo research and reproductive ­technologies — to invoke Victor Frankenstein’s hubris in “playing God” by creating a person out of inanimate matter. And yet, reading the story again two hundred years after its publication, we find that its moral teachings have been stubbornly ignored, or even inverted, by the scientists and ethicists who have the most to learn from it.

As a starting point for thinking about the counterintuitive place of the novel in contemporary discourse about technology and ethics, consider a 2012 essay by the French sociologist of science Bruno Latour, “Love Your Monsters,” in which he argues that the real lesson of the novel is that “we must care for our technologies as we do our children.” According to Latour, “Dr. Frankenstein’s crime was not that he invented a creature through some combination of hubris and high technology, but rather that he abandoned the creature to itself,” referring to the moment in the story when Frankenstein runs in horror, without good reason, from the creature he has made.

more here.

A Reckoning with Reality (TV)

Realitytv-1024x683Lucas Mann at The Paris Review:

When we were first getting into The Real Housewives of Beverly Hills, the husband of one of the show’s stars, who had seemed to be a real asshole (like potentially abusive) on-screen, hanged himself. The following season, his widow was back, shocked yet resilient, weepy but still game.

At the height of The Real Housewives of New Jersey (your favorite), Teresa went to jail for the mail, wire, and bank fraud that had funded the lifestyle she so proudly flaunted for the cameras. Her special return-home episode airs next month.

In the middle of our Here Comes Honey Boo Boo obsession, Honey Boo Boo’s mother’s boyfriend got arrested for rape, child molestation, aggravated child molestation, and aggravated sexual assault battery against Honey Boo Boo’s sister. The show got canceled, but Honey Boo Boo did appear in a special obesity episode of The Doctors, and now her mother is on Marriage Boot Camp.

more here.

To treat some diseases, researchers are putting immune cells on a diet

Mitch Leslie in Science:

Immune_socialAbout 12 years ago, Gary Glick and his wife noticed something wrong with their son, Jeremy. He seemed to be lagging behind his twin sister, recalls the immunologist and chemical biologist at the University of Michigan in Ann Arbor. "They were growing in unison, and he sort of stopped." Jeremy, who was 9 or 10 at the time, also looked sickly and pale and began complaining of nagging pains in his stomach and elsewhere. Rachel Lipson Glick, a physician, was stumped by their son's mysterious ailment. So were other doctors. It took about 3 years to rule out myriad cancers, endocrine malfunctions, and other potential causes and to determine that Jeremy had Crohn disease, an inflammation of the digestive tract stoked by misbehaving immune cells. The diagnosis made life harder for Jeremy, now 22 and a senior at college. To control the symptoms, he injects the antibody drug adalimumab (Humira). He will likely need it, or another immune-inhibiting treatment, for the rest of his life.

By coincidence, one of those alternatives might stem from his father's work. Gary Glick, like an increasing number of other researchers, is convinced that the immune cells driving conditions such as Crohn disease share a feature that could be their undoing: their metabolism. He has spent the past 2 decades searching for drugs that target metabolic adaptations of immune cells. Clinical trials by Lycera, a company Glick founded, are now assessing the first of those drugs for psoriasis and ulcerative colitis, an intestinal illness related to Crohn disease. Drug companies are working to develop other candidates. Researchers are also looking to deploy existing drugs that tamper with metabolism, such as the diabetes treatments metformin and 2-deoxyglucose (2DG). "It's a very exciting time," says immunologist Jonathan Powell of Johns Hopkins University's School of Medicine in Baltimore, Maryland. "Potentially, all immunologic diseases are targets for metabolic therapy."

Cancer researchers have also tried to disrupt cell metabolism, even testing some of the same drugs immunologists are investigating. But many scientists are convinced the strategy will work better for immune diseases than for tumors because drugs to treat those illnesses need only to suppress a relatively small number of overexuberant cells, not eliminate them.

More here.

Monday, April 2, 2018

Preston Brooks Canes the Union

by Michael Liss

Nypl.digitalcollections.6232540d-9d12-b4e8-e040-e00a18061bf0.001.w

History is fractal. Zoom out, and you see grand themes, mass movements, stirring oratory, and profound ideas. Zoom in, and it is countless individual acts and choices, smaller moments that often seem to be just footnotes, but are, on closer inspection, immensely revealing.

On May 22, 1856, South Carolina Congressman Preston Brooks entered the Senate Chamber, strode purposefully over to the desk of Massachusetts Senator Charles Sumner, and beat him senseless with a gold-headed, gutta-percha walking stick. So forceful, and so numerous were his blows, that Brooks shattered his weapon. And so much the damage done to his victim, both physical and psychological, that Sumner was unable to resume his Senatorial duties for nearly three years.

Matter of honor for Brooks. Sumner had just delivered a two-day jeremiad, “The Crime Against Kansas,” which was laced with insults against Brooks’ home state and his kin, South Carolina Senator Andrew Butler. As for the need for 30 swings of the cane on a bloodied, helpless victim, anyone who understood the profound passion of offended dignity of the Southern Gentleman could explain it. Who, of Brooks’ stature, wouldn’t have acted the same way when faced with the same provocation?

Brooks’ choice of a weapon said as much as his words. It was not an accident, not something grabbed in impulse. In the Southern Code, you dueled with an equal, but thrashed an inferior. Sumner, for all his refined manners, Harvard education, and the classical allusions in his speeches, was clearly a social inferior—a “Black Republican” of the worst type. Once Brooks settled on a course of action, he grappled with the choice of cane or bullwhip, but he never, ever, considered pistols.

Most of the South cheered. Fire-Eaters made similar threats against other Northern leaders, and Brooks mused, “It would not take much to have the throats of every Abolitionist cut.” He became a sort of a pop hero, the very exemplar of chivalrous Southern manliness. Among his adoring acolytes were students from the University of Virginia, who sent him a golden-headed cane, inscribed, and etched with the image of a cracked human skull.

Read more »

Dance beyond words

by Dave Maier

Pina-movie-wallpaper-25338In 1985, by his own account, the filmmaker Wim Wenders had no interest in dance, and had to be dragged to a performance of choreographer Pina Bausch’s Café Müller by his companion, actress Solveig Dommartin (you remember her, she’s in Wings of Desire). However, he found himself so moved by the performance that he wept. So reports Siri Hustvedt in an essay accompanying the Criterion Collection issue of Wenders’s film tribute to Bausch, Pina: dance, dance, otherwise we are lost. With respect to Café Müller in particular, Hustvedt tells us that “one cannot encapsulate what one has seen in words.” That is, “one does not come away with a message or story that can be explicated […] Rather, [Bausch’s] work generates multiple, and often ambiguous, meanings,” which helps account for the work’s power:

The viewer’s emotion is born of a profound recognition of himself in the story that is being played out onstage before him. He engages in a participatory, embodied mirroring reaction with the dancers, which evades articulation in language. Susanne K. Langer is writing about music in the following passage from Philosophy in a New Key, but her commentary can be applied equally well to dance: “The real power of music lies in the fact that it can be ‘true’ to the life of feeling in a way that language cannot; for its significant forms have that ambivalence of content that words cannot have.” Musical meanings arrive, as Langer puts it, “below the threshold of consciousness, certainly outside the pale of discursive thinking. […] [Bausch:] “For I always know what I am looking for, but I know it with my intuition and not with my head.” Indeed, many artists work this way, even artists whose medium is words. There is always a preverbal, physiological, rhythmic, motoric, ground that precedes language and informs it.

Okay, that’s quite a mouthful. Let’s unpack it (as my anthropology teacher used to say).

If the experience of Café Müller reaches “beyond language,” a natural question is: what is it about dance, a non-verbal art, that allows it to do what words cannot? Is it that it is physical/gestural rather than verbal, or instead that it is characteristically artistic experience rather than everyday discourse? To answer this, we must also consider for comparison the two other possibilities: non-verbal non-art and verbal art (literature/poetry).

If everyday non-artistic gestures reach “beyond language” simply by being non-verbal, then it is hardly remarkable to say of dance that it does this as well, and thus it cannot be this mere ability that makes possible the latter’s power. It must be that what does the trick instead is that dance is an art of gesture, that it takes advantage of its non-verbal nature in a way that everyday gestures do not, in order to allow the exceptional experience that moved Wenders to tears. But what does that difference amount to here?

Read more »