“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives.” —Carl Sagan on a photo taken of Earth by Voyager 1 as it left our solar system
.

Pale Blue Dot

pale blue
dot

in the dark of a well,
spot on the mirror sent years ago
into a depth stiller than hell

reflecting our lonely circumstance
home glows tenuous
small as the period
at this sentence end.

◦

vague lucent
point

a place of cruel, small thoughts
as well as those sublime enough
to catch light from billions of years back
closed only by a shortfall of time,
a breadth of scarcity we can’t imagine,
which might require something as
short as an instant’s instant to reveal
if only light were quicker,
the laws of physics fully peeled
and god were not so much a
silent ruthless tricker

.

by Jim Culleny
4/23/15

by Misha Lepetic

“A map of the world that does not include Utopia
is not worth even glancing at.”
~Oscar Wilde

I've recently become obsessed with a TV show, which is rather unusual for me. I like to tell people that, after HBO wrapped The Wire, I went ahead and sold my TV. Perhaps more melodramatic than true, but this is nevertheless close enough for essayistic purposes. The present show, however, could not be more different than the gritty realism of David Simon's character-driven creation. Created by Dennis Kelly and broadcast by Channel 4, the UK's fourth public service broadcaster, Utopia had a short run – only two seasons of six episodes each. Late in 2014, it was decisively announced that the series would not be renewed for a third season, but I think this was for the best. My grandfather once related an old Arab proverb to me: “One should always stop eating when it tastes the sweetest”. I don't know if this is really an old Arab proverb, but there are certain things one just isn't inclined to Google.

At any rate, one thing that is certainly true for Utopia and shows like it: if you thrive on massively complex, increasingly far-fetched scenarios, the longer you go on, the more likely you are to trip over your own plotlines, and all hopes for a tightly orchestrated dramatic tension eventually evaporate. The most instructive recent example, which still rankles with fans, is how Lost wrecked itself on reefs of its own devising, despite the impressive hermeneutical gymnastics deployed by some in its defense. I would imagine that few producers and executives enjoy contemplating a similar fate for their own endeavors.

The hazard for Utopia's genre – the paranoid thriller – is especially acute. And settling on the proverbial ‘shadowy international conspiracy' as the principal plot mechanism only doubles down on the risk, since it is tempting to mop up any inconveniences using said conspiracy. Nevertheless, I have always had great faith in the British when it comes to the respect required to make conspiracies, erm, plausible. That's right – a conspiracy needs to be treated respectfully if it is to have any currency.

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by Leanne Ogasawara

He was one of the most famous art connoisseurs in Chinese history. And he was also known for walking the streets of Hangzhou dressed in the fashions of 500 years earlier. When asked why he did it, he replied, “Because I like the styles from back then.” But, in fact, everyone knew there was more to it than that. Madman Mi, as Mi Fu was also lovingly known to people of his time, served for a brief time at the court of Emperor Huizong, just prior to the fall of the Empire. Believed to be of Sogdian blood, it was through his mother’s connections at Court as a Lady-in-Waiting and Consort of Emperor Shenzong that he was able to enter the official bureaucracy without ever having had to take any of the official examinations.

But –alas– despite his excellent connections, Mi Fu was never particularly “career-oriented” –as he remained till the very end devoted to the creation, study and collection of art. His passion started while he was still quite young, and he has described in his writings how his mother more than once sold her ornamental hair combs in order to fund his collecting while he was still only a child.

To call him an eccentric would only be an understatement.

For not only did he walk the streets dressed in clothes from the Tang dynasty, but he was also known for introducing himself and bowing to especially fine specimens of garden rocks, which were of the type he collected; often addressing them politely as “elder brother.” Greatly admired by Emperor Huizong for his knowledge and style, he was appointed Director of the Calligraphy and Painting Institute at Court, where the Prime Minister was said to have observed, “Mi Fu is the kind of person we must have one of, but cannot afford to have two of!” Even though his knowledge was formidable, his personality was such that he didn’t last long at Court.

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by Bill Benzon

On Saturday April 25, 2015, some 20-30 graffiti writers and street artists converged on the now empty Newport Pep Boys store in Jersey City, New Jersey. What were they there for? To “get up” as the lingo has it. To spray paint on walls.

That activity is vandalism in Jersey City, as in most other cities America (though, like a number of cities, Jersey City also has a public mural program). And a number of these artists have police records for committing such vandalism. For that matter, I once got a summons for “aggravated trespassing” for taking photographs of graffiti on posted land belong to CSX, the large railroad conglomerate.

But it’s not vandalism if you have permission. And these writers had permission. The permission was arranged by Greg Edgell, proprietor of Green Villain, “a small group of social entrepreneurs and creatives that in the past few years have developed a diverse portfolio of projects and partnerships.” Those projects include a number of mural projects in Jersey City, where Edgell lives, and across the Hudson River in New York City.

Disclosure: I’ve known Edgell for several years and collaborate with him on projects.

In the Fall of 2014 Edgell had contacted the owner of Pep Boys about putting art on the rear wall. Why? Because it is very visible, facing the Hudson-Bergen Light Rail where it is seen by thousands of commuters everyday. He got permission and by the end of November the wall had been covered.

Winter rolled on through, gave way to Spring, and Edgell learned that that Pep Boys building was going to be torn down to make way for new construction. This wasn’t a big surprise, as he already knew the building would be coming down. But not so soon.

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by Matt McKenna

Ex Machina is the debut film by Alex Garland, writer of the critically acclaimed zombie movie 28 Days Later. At first glance, Ex Machina appears to tread the well-trod sci-fi ground paved with the question, “What does it mean to be a robot with consciousness?” Indeed, the characters in the film mainly appear interested in knowing whether Ava, the humanoid robot, has genuine emotions, and viewers of the film would be right to point out this theme is hardly novel. But all this musing over the nature of consciousness is merely a smokescreen for the actual issue the film tackles: the failed merger between Comcast and Time Warner Cable.

Ex Machina stars Oscar Isaacs as Nathan, the hard-bodied ultra-genius who has just maybe created an artificially intelligent robot named Ava played by Alicia Vikander, and Domhnall Gleeson as Caleb, the relatively-smart weakling who Nathan handpicks to test Ava's sentience. The film is mostly sympathetic towards Caleb, who lays it on pretty thick as a wide-eyed kid gaga over being invited to Nathan's enormous estate after winning a nebulously defined contest sort of like Charlie in a Willy Wonka cyberpunk robot factory. After being equal parts confused and excited over Nathan's bizarre behavior and the paranoid security features at the isolated compound, Caleb is ecstatic to learn his role in this adventure will be to perform psychoanalysis on Nathan's potentially self-aware humanoid computer.

The similarities between Nathan and Caleb to Comcast and Time Warner Cable (TWC) should be immediately obvious. Nathan, the unlikeable punching-bag-pummeling, iron-pumping fitness enthusiast, is physically gargantuan the way Comcast is gargantuan with its 23 million subscribers. Caleb, by comparison is weak like TWC and its relatively miniscule 14 million subscribers.

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by Eric Byrd

Having nothing better to do…I read two old journals. High spirits and weather reports recede into the background, and what emerges are two astonishing contests, one with alcohol and one with my wife. (1968)

That sounds like what I read. Until Cheever gets sober – 1975 – the entries of this 5% selection seem to alternate between marital standoffs in an atmosphere of alcoholic cafard, and lyrical-libidinous celebration of life, love, nature and consciousness. The gin-soaked husband and the leaping faun are always overtaking one another:

An unseasonably warm day: fevers in the blood. I walk with Frederico. The sense of odors, exhalations, escaping from the earth is volcanic. The country stirs like a crater. The imperative impulse is to take off my clothes, scamper like a goat through the forest, swim in the pools. The struggle to sustain a romantic impulse through the confusions of supper, the disputes, the television, the baby's bath, the ringing of the telephone, the stales of the dishpan, but I have in the end what I want and I want this very much. (1960)

John and Mary will end the night in separate rooms, before different TVs, solipsistic screens, imprisoned in “ennui and meaningless suspense,” she determinedly aloof, he mired in whiskey and Seconal; but come morning he'll feel the rush of resumed consciousness, he'll be very horny, he'll be primed to write a story or chop firewood or ski the mountains in the morning light — until, of course, the bottles in the pantry begin to sing; and another night comes on, and with it “the struggle to recoup some acuteness of feeling,” and he will awake again haunted by “the feeling that some margin of hopefulness has been debauched.”

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by Josh Yarden

Moses, Michelangelo

Spring is the Season of Our Liberation

Great epic struggles play out, layered one on top of another, in recent weeks, in past centuries and in ancient times. The state's attorney for Baltimore City, Marilyn J. Mosby, filed the charges against six ‘rough riding' police officers on a range of crimes including murder in the arrest and fatal injury of Freddie Gray. This came shortly after we marked 150 years since the assassination of Abraham Lincoln, who, in his words and in his deeds, freed the slaves from their bondage, and freed the Constitution of the United States from the shackles of an intolerable contradiction. We marked Lincoln's assassination just after Passover, the holiday celebrating the emancipation of slaves from ancient Egypt. It is a story as universal in its meaning to all human beings as it is particular to the Hebrews.

Imagine each of the events depicted in one huge mural, or described in the imagery of one poem, or sung simultaneously by multiple voices from throughout history, each singing a different song of memory, all of them somehow fitting together in one choir. One melody and another, and another, the three of them sung together in polyphonic harmony. The deep meaning of each of these stories resonates more strongly as they resonate together. The Epic of Moses continues when we tell the story of the exodus, as it does when we raise our voices about injustice at any time.

These are not isolated instances. In a very real sense, it is all one story with a recurring theme. Moses could have read out the Emancipation Proclamation; Lincoln could have read the inditement against police brutality and manslaughter; Mosby is still telling Pharaoh that he must free the salves or suffer the consequences. The melody is repeated, each time by a different voice, casting the same message in a new light.

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by Jalees Rehman

“Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings.”

Sir Arthur Quiller-Couch (1863–1944). On the Art of Writing. 1916

Murder your darlings. The British writer Sir Arthur Quiller Crouch shared this piece of writerly wisdom when he gave his inaugural lecture series at Cambridge, asking writers to consider deleting words, phrases or even paragraphs that are especially dear to them. The minute writers fall in love with what they write, they are bound to lose their objectivity and may not be able to judge how their choice of words will be perceived by the reader. But writers aren't the only ones who can fall prey to the Pygmalion syndrome. Scientists often find themselves in a similar situation when they develop “pet” or “darling” hypotheses.

Goethe's symmetric colour wheel with associated symbolic qualities (1809) via Wikipedia, based on Goethe's theory of color which has not been proven scientifically

How do scientists decide when it is time to murder their darling hypotheses? The simple answer is that scientists ought to give up scientific hypotheses once the experimental data is unable to support them, no matter how “darling” they are. However, the problem with scientific hypotheses is that they aren't just generated based on subjective whims. A scientific hypothesis is usually put forward after analyzing substantial amounts of experimental data. The better a hypothesis is at explaining the existing data, the more “darling” it becomes. Therefore, scientists are reluctant to discard a hypothesis because of just one piece of experimental data that contradicts it.

In addition to experimental data, a number of additional factors can also play a major role in determining whether scientists will either discard or uphold their darling scientific hypotheses. Some scientific careers are built on specific scientific hypotheses which set apart certain scientists from competing rival groups. Research grants, which are essential to the survival of a scientific laboratory by providing salary funds for the senior researchers as well as the junior trainees and research staff, are written in a hypothesis-focused manner, outlining experiments that will lead to the acceptance or rejection of selected scientific hypotheses. Well written research grants always consider the possibility that the core hypothesis may be rejected based on the future experimental data. But if the hypothesis has to be rejected then the scientist has to explain the discrepancies between the preferred hypothesis that is now falling in disrepute and all the preliminary data that had led her to formulate the initial hypothesis. Such discrepancies could endanger the renewal of the grant funding and the future of the laboratory. Last but not least, it is very difficult to publish a scholarly paper describing a rejected scientific hypothesis without providing an in-depth mechanistic explanation for why the hypothesis was wrong and proposing alternate hypotheses.

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by Jonathan Kujawa

In 1971 H. S. M. Coxeter introduced a mathematical trifle he called “friezes”. At the time they didn't seem like much more than a cute game you can play. In the past decade, however, they've become a central player in a major new area of research. I recently saw an entertaining talk by Peter Jorgensen at the Mittag-Leffler Institute about his work in this area with Christine Bessenrodt and Thorsten Holm. Peter's talk reminded me that I should really tell you the story of friezes. We've all seen friezes such as this one by Caravaggio [1]:

What is a frieze à la Coxeter? It's easiest to show with an example:

As you can see, a frieze is an array of the counting numbers (1,2,3,4,…) where the top and bottom rows are all ones. The dots on the left and right mean that each row continues forever in both directions. The real mystery is the numbers in the middle rows. There is some sort of pattern and symmetry but I, at least, couldn't quite put my finger on it the first time I saw a frieze. The mysterious missing rule is that each diamond of four numbers:

is required to satisfy the equation:

You can check the diamonds in our example frieze and see that the formula always holds true. Notice, too, we can make diamonds on each edge where we know three out of four of the numbers. Using our formula we can solve for the missing number and so fill in missing numbers on each edge. This observation along with the fact that the top and bottom rows are always one means the frieze really does continue forever in both directions and the Rule for Diamonds tells us how to calculate the missing numbers.

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by Kathleen Goodwin

The extent of my identification with my Armenian heritage was once dyeing Easter eggs a mottled maroon the traditional Armenian way (with onion skins) with my Armenian grandmother. In high school when learning about the systematic eradication of Armenians during World War I, I didn't feel any sense of personal injustice. By college, when the Kardashian franchise familiarized the American public with the existence of the tiny west Asian country, revealing I was part Armenian “like Kim Kardashian” became my go-to ice breaker when having to share an interesting fact about myself. Truly, I've only come to recognize myself as Armenian-American in the past few weeks as the media has highlighted the century-long struggle of Armenians to have world leaders acknowledge the Armenian genocide.

This past Friday, April 24, marked the centennial of the day in 1915 when approximately 250 prominent Armenian intellectuals were rounded up by Ottoman officials and deported from Constantinople (present-day Istanbul). Most of them were eventually killed, along with an estimated 1.5 million Armenians over the course of the next seven years. The Ottoman Turks, which had already lost land they once ruled in the Balkans, feared that the Armenian Christian minority would ally itself with Russia and hasten the destruction of their empire from within its own borders. By the end of World War I, the Ottoman Empire was disbanded, and the nation of Turkey that emerged in the aftermath was founded by the same Ottoman officials who continued to exile and murder Armenians.

The primary grievance of Armenians today is the refusal of the Turkish government, as well as most other nations including the United States, to acknowledge that what occurred during the fall of the Ottoman Empire should be termed “genocide”. Some Armenians admit that the singular focus on semantics has sometimes reached hyperbolic proportions and keeps Armenians mired in the past, ultimately preventing them from fully thriving in the present. I will admit that I previously thought the obsession with achieving the label “genocide” was misplaced. If the Turkish government had refused to own up to its historic crimes for so long, fighting for its confession isn't worth the time of Armenians who are trying to preserve their culture and move forward with their lives. In some ways it felt like begging the world to acknowledge the genocide continued to hand power to the oppressors, instead of allowing Armenians to take back ownership of their legacy.

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by Madhu Kaza

On the evening of April 13^th I heard the news that the Uraguayan writer Eduardo Galeano had passed away. Earlier that day, after work, I had gone to get a manicure at a salon in my neighborhood; my hands and wrist hurt from typing all day and more than new nail polish I wanted a little break. The manicurist was a young woman just three years out of high school. She had been born in Mexico City, and at the age of five she left for New York with her mother and siblings to join her father who had come a few years earlier. She arrived one month before September 11th, 2001. While she filed, soaked and painted my nails the young woman, L, told me about her dog, Amigo, whom she had to leave behind in Mexico, about her sense of loss when she arrived in the United States and her even deeper sense of loss when her mother returned to Mexico a few years ago. “It's been so hard,” she said, “No one gets you like your mom.” L lives on her own, and though she would love to go to college it's beyond her financial means; it's enough for her to manage getting by by working full time. At the end of my appointment when I told her that she had a beautiful name she said, “I'm named after my father.” “What is your mother's name?” I asked. Her eyes brightened as she said, “Maria. But it's very interesting because her name is Maria Herculia – it's like Maria Hercules.”

I was still thinking about L when I heard the news of Galeano's death. Galeano often spoke of his work as a project of writing historical memory; it was an oppositional history of remembrance in the face of historical amnesia. In a 2013 interview with The Guardian Galeano spoke of this amnesia in systemic terms: “It's a system of power that is always deciding in the name of humanity who deserves to be remembered and who deserves to be forgotten … We are much more than we are told. We are much more beautiful.” The stories that Galeano collected and wrote formed an underside of history, the memory of those who are easily forgotten in the grand narratives of conquest, capitalism and progress. Even as his writing had a broad historical sweep – he wrote histories of Latin America as well as a histories of the world from pre-historic times to the present day—he was interested in the particulars; his works of short prose commemorated and celebrated ordinary people in their labors, their loves and their woes. It was through these stories of individual people and particular communities that Galeano's writing came to life. He noted his interest in “small things and small people.” That night when I learned that he had died, I imagined how Galeano might have delighted in and given shape to the narrative of the daughter of Maria Herculia, whose story contains both the residue of disruptive historical currents and the heroics of everyday life.

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by Tamuira Reid

She calls me in the middle of the night. I call her when I know she won't be home.

“How many floors are in your building?”

“What? Mom, I'm sleeping.”

“Tell me how many floors!”

“I don't know. Five? Six?”

“Okay good. As long as it's not a high rise. You know, they always bomb the big buildings first. You're better off moving to Brooklyn.”

She is round and smooth and old. I'm younger, harder, meaner. She's the clear blue rock you find at the water's edge, the one that has been caressed by time. I'm the piece of glass that cuts your finger, the broken cola bottle that you mistake for something else.

I still don't know what I want to be. I don't know where I want to live. I don't know if I'll ever make it.

She cries when no one is around. Dreams in private. Wishes things were different.

I smoke too many cigarettes. My mother has never had a single puff. I take long, poetic walks along the Hudson River. Her shoes give her blisters. I read books. She buys the audio. We listened to Sarah Palin's memoir on the way to Los Angeles last summer for my cousin's wedding. Hours of torture. My mother likes to be entertained while she drives.

I've had several boyfriends. She is a serial monogamist. I know when it is time to get out. She forgives too easily.

Mom likes Mel Gibson. A lot. “I can't stand him,” I tell her. “He's racist and conservative. His politics suck.”

“But he has such an amazing handlebar moustache. I love handlebar moustaches.”

“He doesn't have one.”

“Does, too.”

“Mom, you're thinking of Tom Selleck. Magnum PI?”

Lots of facts exist only in my mother's world. She is never wrong in her world. She is never late in her world. She is never depressed in her world.

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by Edward Rackley

The occasion to commemorate Tim Hetherington's life and work is now upon us; let it not pass in silence. He died on April 20, 2011 from a Libyan mortar on the streets of Misrata. I didn't know him personally, as did many friends and colleagues, but followed his work from the early 2000s in Liberia through the Oscar-nominated Restrepo in 2010. Even in his earliest published work, a new creative force was clearly behind the lens.

An uncanny talent for capturing the grace of strangers amidst the peril of explosive circumstances, he framed them not as cannon fodder or cardboard victims but as dignified members of a forlorn species. “Often we see scenes of disaster and forget that the people imaged are individuals with individual stories and lives,” Tim explained in this clip on his working process. The moral complexity of his subjects matched my own experiences in crumbling dictatorships and nations rent asunder by grievance and the promises of insurrection. From Liberia to Darfur and Afghanistan, Hetherington's different media projects untapped their own turgid fount of memories sweet and sour.

His early Liberia photos were memorable for their fleeting dignity and searing panic of private moments in battle, serendipitous snaps of civilians and combatants with poignant acumen. Others miraculously wove the social, political and economic threads of a conflict into a single image–a West African Breughel sans folly or satire. Child soldiers lording over diamond diggers sprawled in open mud flats, sifting for riverbed gems to fund campaigns of mass amputation, beheading and rape. Portraits of human industry absent any social or political aim beyond self-serving blood and lucre.

This was early Hetherington: still mystified by the paroxysms of humanity in the throes of war. Not a bad start, but embedding in warzones is not hard to do, after all. Anyone can become cannon fodder, and journalists have been accessing armies and frontlines for over a century.

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by Scott F. Aikin and Robert B. Talisse

In the United States, the political season is almost upon us. Campaigns are gearing up, contrasts are being drawn, and debates are beginning to emerge. This is an important time for those who are interested in the norms of argument and public deliberation. Fallacy-detection is a favorite pastime, and we ourselves are enthusiastic participants. However, there is considerable confusion surrounding one of the most widely-known and commonly-attributed fallacies, the ad hominem (“to the man”).

Fallacies are improper inferences, popular ways of drawing conclusions from premises that in fact offer them no support. In its most common variety, ad hominem fallacy takes the following form:

Premise: Subject S is in some specified way vicious.

Conclusion: We should reject the things S says.

The vices identified in the premise of course vary. Depending on the context, it might be claimed that S is philanderer, a hypocrite, an alcoholic, a drug abuser, a child abuser, a racist, a pervert, a neoliberal, a lowbrow, an egghead, a neocon, a snob, a pinhead, a knownothing, and so on. To be sure, some of these traits may not be actual vices, but the effective deployment of the ad hominem depends only on the speaker's audience believing that the trait attributed in the premise is indeed vicious. The ad hominem's strategy is that of identifying the purported vice ascribed to S in the premise as sufficient grounds for rejecting the things S has said.

The prevalence of the ad hominem in political debate is easy to explain. Given the carefully curated and time-constrained forums in which most public political discourse occurs, it is just easier for disputants to talk about each other than the ideas and policies over which they disagree. Consequently, discussions of politics all too regularly become wranglings over personalities. Yet, despite its understandable prevalence, the garden-variety ad hominem is obviously fallacious.

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by Shadab Zeest Hashmi

In a lineated poem, the line-breaks are used to produce verbal or sonic emphasis, in addition to creating a structure that is arranged such that it is easy to parse and comprehend the poem. When line-length varies, emphasis shifts and dramatic tension or narrative effect is produced. Generally speaking, in a free-verse poem, line-length varies without a set pattern, and the variation depends on where the poet wants emphasis, but in his (free-verse) poem “Greed,” C.K. Williams uses a pattern to arrange the lines. He uses long lines (flush right-margin) that are alternated by short lines constituting five to eight syllables. The lines are enjambed and form remarkably long sentences. Such sentences may ordinarily be in danger of becoming unwieldy or out of control. Williams brings aesthetic order to the poem by using a typographical pattern and a pattern of sonic devices, thereby creating a piece that has narrative clarity as well as narrative impact or dramatic tension.
Typographically, Williams’ style of predictably continuing each long line till flush right margin and indenting each alternate line, establishes a pattern that helps the eye get accustomed to this arrangement and to parse the sentences with ease:

A much-beaten-upon-looking, bedraggled blackbird, not a starling, with
A mangled or tumorous claw,
an extra-evil air, comically malignant, like something from a folktale
meant to frighten you,
gimps his way over the picnic table to a cube of moist white cheese into
which he drives his beak.

There is a suspended syntax in this long sentence, but the words are strung together alliteratively and with the deft use of diction that creates sound patterns forming sonic clusters, making the sentence cohere and aiding comprehension. In the above stanza, “bedraggled black-bird,” “extra-evil” are alliterations. There is a sonic partnership or inter-play in diction such as “starling,” “mangled” and “malignant” or between “gimp” and “picnic” or “cheese” and “beak” or in the phrase” folktale/ meant to frighten you.” These patterns of sonic play establish a harmony which can be said to contribute to clarity in its cohesive effect. The pattern becomes more and more vivid as the poem continues:

Then a glister of licentious leering, a conspiratorial gleam, the cocked
brow of common avarice:
he works his yellow scissors deeper in, daring doubt, a politician with
his finger in the till,
a weapon maker’s finger in the politician, the slobber and the licking
and the champ and the click.

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