Lara Feigel in The Guardian:

In 1919 the German Dada artist Raoul Hausmann dismissed marriage as “the projection of rape into law”. It’s a statement that relishes its own violence: he is limbering up to fight marriage to the death. A strange mixture of dandy, wild man, provocateur and social engineer, Hausmann believed that the socialist revolution the Dadaists sought couldn’t be attained without a corresponding sexual revolution. And he lived as he preached. He was married, but was also in a four-year relationship with fellow artist Hannah Höch. Hausmann and Höch form one of the couples in the Barbican’s Modern Couples exhibition, which shows the freewheeling experimentation of interwar art to be inseparable from even more extravagant experiments in sexuality and coupledom. The exhibition includes several of the partly whimsical, partly grim collages Höch made at this time. Bobbing her hair and smoking in public, Höch was a self-styled “new woman” who shared Hausmann’s carnivalesque contempt for bourgeois morality. Her Bourgeois Wedding Couple (Quarrel) photomontage from 1919 satirises the married pair as ungainly children. The bride teeters on the boots of a grown-up woman, but she has the body of a mannequin and the face of an overgrown baby whose tantrum is observed by her childlike spouse.

However, the alternative to bourgeois marriage wasn’t obviously promiscuity for Höch in the way it was for Hausmann. Years later, she described being “disappointed, crushed, destroyed” by the double standards of the Dadaist men, who wanted to free women while remaining obdurately patriarchal.

More here.

Shayla Love in Vice:

Last November, on the Monday before Thanksgiving, David* was sitting in traffic on his drive home from work. He was suddenly overwhelmed by the realization that everything he experienced was filtered through his brain, entirely subjective, and possibly a complete fabrication.

“Not a unique or deep thought to be sure, but I felt the world drop out from under me and experienced panic—and a certainty that, if I chose to, I could go insane at that very moment,” he tells me. He rolled down the window, turned on the radio, and carefully made his way home.

That night, he couldn’t fall asleep. He would get very tired, come close to nodding off, and then a jolt of energy would shock him awake. “I was very shaken, suffering chest tension and nausea,” he says. “This continued unabated for six days during which I estimate I slept for a total of six hours. On Sunday evening I went to the emergency room.”

David had a hunch about what had caused his panic attack: his meditation practice.

More here.

Elizabeth Hellmuth Margulis at the blog of the Oxford University Press:

Music can intensify moments of elation and moments of despair. It can connect people and it can divide them. The prospect of psychologists turning their lens on music might give a person the heebie-jeebies, however, conjuring up an image of humorless people in white lab coats manipulating sequences of beeps and boops to make grand pronouncements about human musicality.

In truth, that’s historically rather how music psychology used to work. In the early 1900s, elaborate mechanical apparatus were devised that purported to determine a child’s musical potential by measuring their perceptual acuity on tasks such as loudness discrimination. Measuring musical aptitude with performance on an acoustic judgment task misses out on what might be even more essential factors—say, the degree to which music captivates a child’s attention or inspires them to move.

But contemporary work on music perception embraces a variety of disciplines and methodologies, from anthropology to musicology to neuroscience, to try to understand the relationship between music and the human mind. Researchers use motion capture systems to record people’s movements as they dance, analyzing the gestures’ relationship to the accompanying sound. They use eye tracking to measure changes in infants’ attentiveness as musical features or contexts vary. They place electrodes on the scalp to measure changes in electrical activity, or use neuroimaging to make inferences about the neural processes that underlie diverse types of musical experiences, from jazz improvisation to trance-like states to simply feeling a beat.

More here.

Jens Kruse in Politico:

I was born in Hamburg, Germany, in 1949, so I grew up playing cowboys and Indians with my cousins in the rubble fields of my native city. Family lore had it that my mother, who had survived the Hamburg firestorm of 1943, made me baby shirts from the sugar bags that came in American care packages. Her father had been sent to a concentration camp during the early days of the Nazi dictatorship because he collected dues for an illegal union; fortunately, he survived. Because of the housing shortage caused by the bombings, my parents and I, for the first 11 years of my life, lived in a one-room apartment. Suffice it to say my childhood was a daily reminder of the catastrophic consequences of the destruction of the Weimar democracy and the rise of Adolf Hitler.

The other constant of my early life was a presence of things American that went beyond the baby shirts with “SUGAR” stamped on them. Even though we lived in the British occupation zone, American movies played at the local movie theater where my mother worked, and Bill Haley & His Comets were my father’s favorite rock ’n’ roll band. My father had been a prisoner of war of the Americans, and while he almost never talked about the war itself, he talked frequently about those years from 1945 to 1947 in camps in Germany, Holland and France. The Americans, he said, treated and fed him well and taught him to drive a 2.5-ton truck. When my parents traveled to the U.S. for the first time for my wedding to a wonderful American woman—six years after I had visited the U.S. for the first time and three years after I had spent a year at Indiana University as an exchange student—he brought his decades-old POW driver’s license in hopes that my father-in-law would let him drive his car.

More here.

Jonathan Shaw in Harvard Magazine:

Kookaburra

So big in life, head like a chopping block
Beak like a carving knife,
His hysterical voice cracked branches, his laugh
Stripped bark from the wood-borers.

But in the twilight something got him,
So close to the house I should have heard.
He was left like a taunt, a dead bird
By an empty chicken run.

Now his dusk-stained feathers rock
In their dead grass cradle,
His bitten body is the flame
From which these moths escape.

That beak is buried in the sucked-out skull
Where eyes were lost in another mouth. His small crate,
Ant-eaten already, has ribs open like rafters
To welcome flies, and his wings rest like two open fans beside him.

Stripped of what made him
He is only a fraction of his noise.

by Frieda Hughes
from Wooroloo
HarperCollins, 1998

Hannah Neimeier at The New Criterion:

Arvo Pärt (b. 1935) is one of those fortunate composers who has created his own world in music—and is beloved for it in his lifetime. The Estonian, who for the last decade has been the world’s most performed living composer, started his career writing neoclassical pieces influenced by the Russian greats, chiefly Prokofiev and Shostakovich. Then he discovered Schoenberg’s twelve-tone scale, serialism, and other twentieth-century experimental techniques and soon became a prominent member of the avant-garde. But Soviet censors disapproved, and in the late 1960s their unofficial censorship removed Pärt’s music from concert programs and sent him into what he called a “period of contemplative silence.”

For years he composed nothing, instead studying medieval choral music intensely in an attempt to find the roots of Western music. These transformative periods of creativity and reflection have marked the rhythm of Pärt’s career, and in 1976 emerged from his longest silence yet with a focus on sacred music and an entirely new mode of composition: tintinnabuli.

more here.

Joseph Hogan at The Point:

But it wasn’t as if, by leaving church, I could escape. In the Midwest, everything is haunted by Jesus: the Rust Belt towns, the long gray freeways; county fairs in the summer with headlining Christian bands; breweries full of wholesome Christian hipsters in warm sweaters, Iron and Wine or Sufjan Stevens on the sound system. After belief, I didn’t want to drive through the suburbs and come upon some postwar church with hymnals full of David Haasand Marty Haugen songs. Even living near Lake Michigan became impossible. I’d drive to the lake after work and walk along the beach as the sun set, moodily brooding. The lake had its own extra-diegetic soundtrack, from the “Pure Michigan” campaign, which O’Gieblyn describes as evoking the kind of “autumnal sentimentalism” that “animates Starbucks ads and late-career Diane Keaton films.” She notes that you can easily imagine the voice over the ads—Middle America’s dad, Tim Allen—as belonging “to God himself.”

more here.

Kate Hext at the TLS:

Each critic sees him- or herself in Oscar Wilde. Saint Oscar; Wilde the Irishman; Wilde the wit. The classicist; the socialist; the martyr for gay rights. “To be premature is to be perfect”, Wilde wrote; “History lives through its anachronisms.” It is in large part on this quality that the Wilde industry has been built. For an industry it certainly is. Books on Wilde are glamorous in a way that academic monographs seldom are. They come with beautiful artwork and endorsements by Stephen Fry. They lend themselves to the crossover market, eminently desirable to publishers as monograph sales dwindle. At their zenith, they beget publicity tours and a spot on a Waterstones table. In a world where most of us academics regularly spend weeks preparing a conference paper to deliver before an audience of a dozen, this is stardom.

more here.

Alex Rosenberg in 3:AM Magazine:

IBM’s Jeopardy winning computer Watson is a serious threat, not just to the livelihood of medical diagnosticians, but to other professionals who may find themselves going the way of welders. Besides its economic threat, the advance of AI seems to pose a cultural threat: if physical systems can do what we do without thought to give meaning to their achievements, the conscious human mind will be displaced from its unique role in the universe as a creative, responsible, rational agent.

But this worry has a more powerful basis in the Nobel Prize winning discoveries of a quartet of neuroscientists—Eric Kandel, John O’Keefe, Edvard, and May-Britt Moser. For between them they have shown that the human brain doesn’t work the way conscious experience suggests at all. Instead it operates to deliver human achievements in the way IBM’s Watson does. Thoughts with meaning have no more role in the human brain than in artificial intelligence.

Consciousness tells us that we employ a theory of mind, both to decide on our own actions and to predict and explain the behavior of others. According to this theory there have to be particular belief/desire pairings somewhere in our brains working together to bring about movements of the body, including speech and writing. Which beliefs and desires in particular? Roughly speaking it’s the contents of beliefs and desires—what they are about—that pair them up to drive our actions. The desires represent the ends, the beliefs record the available means to attain them. It is thus that we give meaning to our actions, and make sense of what others do.

More here.

Scott Bembenek in Salon:

Perhaps no other area of physics has enjoyed as much attention from scientists and non-scientists as quantum mechanics. The fame of quantum mechanics theories stands in juxtaposition to the physical “weirdness” they manifest – even some of the scientists who discovered these theories were set aback by the startling consequences. It’s no wonder Einstein remarked, “The more success the quantum theory has, the sillier it looks.” But as “silly” as it may seem, the physical implications of quantum mechanics are real, and not nearly as complicated nor inaccessible as they might seem.

Energy Comes in Chunks                                                                    

We are all familiar with the way the burner of an electric stove goes from being faint red to flaming bright red as the temperature rises. If we could increase the temperature even higher, we would eventually see the burner shifting from its reddish glow to more of a bluish hue. In essence, what we are observing is a very specific relationship between the temperature of a hot object (e.g., stove burner) and the light (thermal radiation) it gives off: as the temperature increases, the light emitted from the burner shifts to a higher frequency. And although our eyes only see a particular color, it’s actually a range of colors, or a frequency spectrum, that’s emitted. This seemingly mundane physical phenomenon left twentieth-century physicists paralyzed for answers, and it would ultimately provide the very first peak into the bizarre world of quantum mechanics.

More here.  [Thanks to Farrukh Azfar.]

Alex Traub in the New York Review of Books:

From the sixteenth to the eighteenth century, the Mughal Empire did much to create modern-day India. It consolidated the country into a sovereign political unit, established a secular tradition in law and administration, and built monuments such as the Taj Mahal. The Mughals were originally from Uzbekistan, but over time they became a symbol of the contribution of Muslims to Indian national history. Their lasting influence is evident in some of India’s most famous dishes, such as biryani, and the settings of several of the most beloved Bollywood movies, including Mughal-e-Azam (1960), by some estimates the highest-grossing film in Indian history.

So it was odd, on a visit this spring to a school in the Indian state of Rajasthan, to hear a Muslim teacher, Sana Khan, ask her entirely Muslim eighth-grade social science class, “Was there anything positive about Mughals?” Khan was teaching at the English-medium Saifee Senior Secondary School, whose students are Dawoodi Bohras, a small Islamic sect that has been based in India since the Mughal era, when its leaders faced persecution in the Middle East. Like Jews, Parsis, and Baha’is, the Bohras are a religious minority that found shelter in India’s unusually tolerant culture.

Yet some of Khan’s students saw only barbarism in the time of their own community’s emergence in India.

More here.

Jan-Werner Müller in the New York Review of Books:

Liberalism is in crisis, we’re told, assailed on left and right by rising populists and authoritarians. The center cannot hold, they say. But if liberal democracy itself is under threat of collapse because of this weakened center, why are the great defenders of the “open society” such as Isaiah Berlin, Arthur Schlesinger Jr., Karl Popper, and Raymond Aron so little invoked? One would think that liberals today would be pressing back into service these robust thinkers of cold-war liberalism. But while not forgotten, their names are barely cited in contemporary political debates. One curious exception—that almost proves the rule, given its eccentric grounds—was when, last year, an Irish finance minister lauded Berlin for helping him deal with “the demands of corporation tax policy.” That is hardly using Berlin as a buttress against populism.

There remains much to be recovered from cold war liberalism for our historical moment. These thinkers had already learned the hard way that progress in the direction of a more liberal world is not inevitable. In a self-critical vein, they took seriously some of the charges that had been leveled against capitalist democracies in the 1920s and 1930s. But what Schlesinger outlined in an influential 1949 book called The Vital Center was not a matter of mere pragmatism, let alone triangulation between extreme left and right.

More here.

Neil Genzlinger in the New York Times:

Meena Alexander, a poet and scholar whose writings reflected the search for identity that came with a peripatetic life, including time in India, Africa, Europe and the United States, died on Wednesday in Manhattan. She was 67.

Her husband, David Lelyveld, said the cause was endometrial serous cancer.

In both prose and poetry Ms. Alexander, a longtime professor at Hunter College and the CUNY Graduate Center, explored themes of feminism, post-colonialism, dislocation, memory and more. She published numerous volumes of poetry, two novels and a memoir, “Fault Lines” (1993). Her writings were themselves the subject of a book, “Passage to Manhattan: Critical Essays on Meena Alexander” (2005).

In their introduction, the editors of that volume, Lopamudra Basu and Cynthia Leenerts, credit Ms. Alexander with creating “a new hybrid poetic form, which fuses the Western Romantic lyric tradition with non-Western ones of Bhakti and Sufi poetry,” which came out of India. In one essay in the book, Jacqueline Wigfall describes “Fault Lines” as “a production of sound, color and texture that exceeds the function of autobiography, social history and political memoir.”

More here.

Marie Myung-Ok Lee at The Millions:

Blurbs, the quoted testimonials of a book’s virtues by other authors, are now so ubiquitous, readers expect them, first-time authors stress about getting them, booksellers base orders on them. A blank back cover today would probably look like a production mistake. But while readers heft books in their hands and scrutinize the praise, it should be noted that blurbs are not ad copy written by some copywriter; they are ad copy written by a fellow author. “Ad copy” might be a bit harsh, but maybe not. The “flap copy,” the wordage on the inside flap of the cover of a hard cover, is written by the publishers, to tell potential readers what the book is about but also, of course, to spur a purchase. Blurbs are also there for promotional purposes only, their bias similarly implicit. “Why is this even a book?” I saw in a book review for a tepid memoir that I read in galleys and enthusiastically thought the same thing about. But such an honest negative assessment is not going to make it as a blurb, nor does an author’s effusive praise guarantee that the book has been read. Random people I interviewed for this piece didn’t know what blurbs were—when I asked about their persuasiveness/necessity, most said they thought they were necessary, but then I realized they were referring to the “flap copy” on the inside cover. Most readers I spoke to casually, including my niece, a college student who can’t leave a bookstore without at least 50 pounds of books, seemed pretty agnostic-to-meh about blurbs and mostly ignored them while browsing.

more here.

Thea Riofrancos at n+1:

Consistent with Mouffe’s other writings, For a Left Populism draws on the work of two interwar intellectuals: Carl Schmitt and Antonio Gramsci. It might seem strange to place the thought of “the crown jurist of the Third Reich” alongside that of a leader of the Italian Communist Party who was imprisoned by Mussolini’s government, but Mouffe finds in both figures conceptual resources for what she calls an anti-essentialist leftism. From Gramsci, Mouffe takes the concept of hegemony; from Schmitt, the concept of the political. Hegemony names the form of power that cannot be reduced to brute repression alone. Rather, a dominant social group attains hegemony when subaltern groups voluntarily submit to its rule, not under the barrel of a gun but through the force of “common sense” and affective attachments to the existing order. As a corollary, any counter-hegemonic movement from below must contest the prevailing order and the class interests it serves by engaging not only the state but also civil society. Churches, schools, trade unions, sports teams, and all manner of voluntary associations are the battlegrounds of hegemonic struggle.

more here.

morning song of a fan

G’Ra Asim in Baffler:

In her 2002 novel The Days of Abandonment, Elena Ferrante deftly dissects just the kind of seemingly vestigial social and historical baggage that remains central to contemporary gender identity. It’s an audacious, unflinching look at the things that are still important to women and why. Reeling in the wake of her husband’s unexpected abandonment of her for another woman, thirty-eight-year-old Olga is vexed by the realization that her sense of self is tethered so tightly to her social roles as mother and wife. The novel’s title is fitting not only for its reference to the sudden dissolution of a marriage, but for Olga’s dereliction of the duties that have come to define her. Bills still pile up, the dog her husband left behind still requires care, and ants threaten to overtake the house when Olga neglects her once undeviating house-cleaning routine.

…I’m skeptical that a total understanding of another’s experience is ever the necessary threshold for thoughtful coexistence, but great literature provides insight into the experiences of others that might be otherwise inaccessible, and can be a vehicle for the kind of empathy that foments social progress. The Days of Abandonment is richer and more nuanced than a merely schematic handbook for post-sexist masculinity, but Ferrante does detail the perils that attend treating relationships as a zero-sum game in which a man willfully waxes at a woman’s wane.

More here.