Charles T. Rubin at the New Atlantis:

What makes Gibson’s portrait of great cities thought-provoking is that, despite all this change, he imagines them persisting at all, in some ways operating no worse than the worst that can be found today. This situation becomes all the more thought-provoking when we see how he links the fate of his cities to the fate of the modern project itself, whose deep impact on making cities what they are today will persist into the future.

The modern project — meaning here not just scientific and technological progress, but also liberal democratic politics, free market economics, and social egalitarianism — promised to alleviate many of the historical givens of the human condition, like material scarcity, rampant disease, inequality, and social and political oppression. And it absolutely has expanded the possibilities of human life for vast numbers of people over the course of time. Yet for Gibson, the modern project is also in some ways responsible for, or at least unable to prevent, the civilizational crashes his stories anticipate. Modernity does not survive unaltered in his stories. The technological center no longer holds, and we see increased social stratification and the rise of oligarchic political and economic arrangements of a sort that some will say are quite familiar today.

more here.

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Amelia Anthony at the Los Angeles Review of Books:

For many months, the only place in New York City still showing Pedro Almodóvar’s most recent film—his first English-language feature, The Room Next Door (2024)—was Lincoln Center. Like many of Almodóvar’s films, the film features a relationship between two women, Ingrid (Julianne Moore) and Martha (Tilda Swinton); the latter now has terminal cancer, and they rekindle their friendship after years of estrangement. The film centers upon a “big ask”—will Ingrid be in the “room next door” while Martha takes a euthanasia pill to end her life? Inexplicably, Martha decides to broach this topic with Ingrid while they sit in the lobby of Lincoln Center’s Alice Tully Hall. Imagine watching this scene at the Lincoln Center theater, that brief meta-cinematic thrill—the viewer is not just next door to the characters on-screen; they are in the very same room.

This mirror between the film and the extradiegetic world forms the heart of the argument made by James Miller in The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films, published this April by Columbia University Press.

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Harvey Lederman at Shtetl-Optimized:

For the last two and a half years, since the release of ChatGPT, I’ve been suffering from fits of dread. It’s not every minute, or even every day, but maybe once a week, I’m hit by it—slackjawed, staring into the middle distance—frozen by the prospect that someday, maybe pretty soon, everyone will lose their job.

At first, I thought these slackjawed fits were just a phase, a passing thing. I’m a philosophy professor; staring into the middle distance isn’t exactly an unknown disease among my kind. But as the years have begun to pass, and the fits have not, I’ve begun to wonder if there’s something deeper to my dread. Does the coming automation of work foretell, as my fits seem to say, an irreparable loss of value in human life?

The titans of artificial intelligence tell us that there’s nothing to fear. Dario Amodei, CEO of Anthropic, the maker of Claude, suggests that: “historical hunter-gatherer societies might have imagined that life is meaningless without hunting,” and “that our well-fed technological society is devoid of purpose.” But of course, we don’t see our lives that way. Sam Altman, the CEO of OpenAI, sounds so similar, the text could have been written by ChatGPT. Even if the jobs of the future will look as “fake” to us as ours do to “a subsistence farmer”, Altman has “no doubt they will feel incredibly important and satisfying to the people doing them.”

Alongside these optimists, there are plenty of pessimists who, like me, are filled with dread.

More here.

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Jonathan Rauch at Persuasion:

In November, James Lindsay—an independent scholar, author, and sometime prankster—decided to test his observation that the American right’s illiberalism and irrationalism have, bizarrely, converged with the woke left’s illiberalism and irrationalism. He grabbed verbiage from the Communist Manifesto, changed left-wing valences to right-wing, and submitted the result to an online conservative journal. He did not have high confidence in going undetected; after all, his opening sentence (“A rising spirit is haunting America: the spirit of a true Christian Right”) is a blatant rip-off of one of the most famous sentences in world literature. Nonetheless, American Reformer ran the piece under the headline “The Liberal Consensus and the New Christian Right.”

All good fun. But what flabbergasted Lindsay was what happened when he revealed the hoax. Instead of repudiating its inadvertent endorsement of the bloodiest left-wing ideology in human history, the supposedly conservative journal embraced it: “While we were unaware of its authorship and motive, it is still a reasonable aggregation of some New Right ideas (repackaged into Marx’s effective rhetoric), and we have corrected its authorship to properly credit Mr. Lindsay.”

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Ella Creamer in The Guardian:

Zadie Smith, Michael Rosen, Irvine Welsh and Jeanette Winterson are among more than 200 writers who have signed a letter calling for an “immediate and complete” boycott of Israel until the people of Gaza are given adequate food, water and aid. Hanif Kureishi, Brian Eno, Elif Shafak, George Monbiot, Benjamin Myers, Geoff Dyer and Sarah Hall also signed the letter, which advocates the cessation of all “trade, exchange and business” with Israel. Hunger-related deaths in Gaza have risen to 197, following last week’s alert from the Integrated Food Security Phase Classification (IPC) initiative that “the worst-case scenario of famine is currently playing out in the Gaza Strip”.

In early March Israel imposed a blockade on Gaza, preventing food, water and medical supplies from entering the territory. In mid-May, after growing international pressure, the Israeli prime minister, Benjamin Netanyahu, said shipments would restart. However, records from Cogat, the Israeli agency that controls aid shipments into Gaza, show that the quantity of aid reaching the territory in May and June fell well below subsistence levels.

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Martha Barnette at LitHub:

But just how do scholars dig up those linguistic fossils and discover those brilliant pictures within? One way is to compare related words in languages arising from a common ancestor, which brings us to the hypothetical mother tongue scholars call Proto-Indo-European.

The languages spoken by nearly half of the world’s population—including some four hundred million native speakers of English—are thought to have descended from this prehistoric language. Scholars have managed to reconstruct its fundamental elements by using comparative linguistics to identify common features and vocabulary in its descendants. Exactly where Proto-Indo-European began is a mystery. Some believe it arose six thousand years ago on the grassy plains of Central and Eastern Europe north of the Black and Caspian Seas. Others suggest earlier origins in Anatolia, the large region of what is now Turkey, bordered by the Black Sea to the North, the Aegean to the west, and to the south, the Mediterranean. Wherever Proto-Indo-European originated, its linguistic offspring spread throughout Europe, to Iceland and Ireland in the west, and eastward to India and what is now part of Chinese Turkestan.

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Rachel Fieldhouse in Nature:

The effect of a gene can vary greatly — and sometimes be the complete opposite — depending on whether it is inherited from the mother or the father. Some genetic variants can, for instance, increase a person’s risk of developing type 2 diabetes when inherited from the father, but lower it when inherited from the mother. But such effects have been challenging to unpick owing to gaps in genomic data. A study published in Nature this week describes a statistical method used to identify at least 30 parent-of-origin effects¹ in 14 genes.

When a child is conceived, it inherits two copies of almost every gene — one from each parent — and both are generally turned either on or off. But in some regions of the genome, one copy can be turned on, or expressed, while the other is silenced. This can lead to ‘imprinting’ disorders such as Prader-Willi syndrome, which is usually caused by a missing or non-functional paternal copy of the UBE3A gene on chromosome 15. In contrast, a missing or non-functional maternal copy can cause Angelman syndrome.

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Broken Images

He is quick, thinking in clear iamages;
I am slow, thinking in broken images.

He becomes dull, trusting to his clear images;
I become sharp, mistrusting my broken images.

Trusting his images, he assumes their relevance;
Mistrusting my images, I question their relevance.

Assuming their relevance, he assumes the fact;
Questioning their relevance, I question the fact.

When the fact fails him, he questions his senses;
When the fact fails me, I approve my senses.

He continues quick and dull in his images;
I continue slow and sharp in my broken images,

He in a new confusion of his understanding;
I in a new understanding of my confusion.

by Robert Graves
from To Read a Poem
Holy Rinehart and Winston, 1992

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Yiyun Li at the Paris Review:

Two moments in Graham Greene’s published life have often returned to me in the past twenty years. This may sound strange: an ideal reader should refrain from crossing the boundary between a writer’s work and his life. And yet it is inevitable: rarely does an author have the luxury of having no known biography. Greene, having written about his life and having had his life extensively written about by others, remains near when one reads his work—not insistently dominating or distracting, as some writers may prove to be, but as a presence often felt and at times caught by a side glance.

The first moment appears in Greene’s memoir Ways of Escape. In a chapter about Brighton Rock, which Greene called a labour of love, he explains the original inspiration for the novel with a reminiscence about the first film he saw at age six—a silent film about a kitchen maid turned queen, with live music played offscreen—he writes, “Her march was accompanied by an old lady on a piano, but the tock-tock-tock of untuned wires stayed in my memory when other melodies faded … That was the kind of book I always wanted to write: the high romantic tale, capturing us in youth with hopes that prove illusions, to which we return again in age in order to escape the sad reality.”

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Zeynep Devrİm Gürsel at Public Books:

“Just as any advanced comrade must have a watch, he shall also possess mastery of a photo camera.” So declared Anatoly Lunacharsky in 1926, in his role as the Soviet Union’s Commissar of Enlightenment. This programmatic statement was included in the very first issue of the photography journal Sovetskoe Foto, published that same year. In fact, such amateur photographic practice—as Oksana Sarkisova and Olga Shevchenko make clear in their book In Visible Presence: Soviet Afterlives in Family Photos—was a key form of active Soviet citizenship. A photographer’s manual published in 1931 openly ordered all to turn their cameras away from family, friends, and other mundane subjects and demanded, “Not one photograph devoid of social significance!”

As a scholar of photography, I appreciate anyone’s recognition of the power of photography. As a social scientist, I read the manual’s call to action as a statement of the obvious. Indeed, no photograph, Soviet or not—even (or perhaps, especially) that of friends, family, or other mundane subjects—is “devoid of social significance.” What people choose to photograph or put in family albums is itself socially significant.

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Yascha Mounk at his own Substack:

Yes, every fashionable conference has some panel on AI. Yes, social media is overrun with hypemen trying to alert their readers to the latest “mind-blowing” improvements of Grok or ChatGPT. But even as the maturation of AI technologies provides the inescapable background hum of our cultural moment, the mainstream outlets that pride themselves on their wisdom and erudition—even, in moments of particular self-regard, on their meaning-making mission—are lamentably failing to grapple with its epochal significance.

A recent viral essay in The New Yorker provides an extreme, but not an altogether atypical, illustration of the problem. “A.I. is frankly gross to me,” its author, Jia Tolentino, avows. “It launders bias into neutrality; it hallucinates; it can become ‘poisoned with its own projection of reality.’ The more frequently people use ChatGPT, the lonelier, and the more dependent on it, they become.” At least Tolentino has the honesty to acknowledge the astonishing fact that “I have never used ChatGPT.” Though the author considers herself a progressive, her basic attitude to new technologies resembles that of a reactionary 19th century priest who denounces the railways as the devil’s work—before proudly mentioning that he himself has, of course, never engaged in the sin of riding one.

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Alex de Waal in the Boston Review:

The worst-case scenario of famine is currently playing out in the Gaza Strip.” These were the words of food insecurity experts at the Integrated Food Security Phase Classification (IPC) mechanism earlier this week.

Israeli Prime Minister Benjamin Netanyahu replied, “Israel is presented as though we are applying a campaign of starvation in Gaza. What a bald-faced lie. There is no policy of starvation in Gaza and there is no starvation in Gaza.” To the extent that there is hunger, he says, it is the fault of Hamas for stealing United Nations aid—a claim backed by no evidence, part and parcel of the demonization used to justify all its actions in Gaza.

But Netanyahu knows perfectly well how he could prove who is telling the truth and yet chooses not to do so. Three steps would settle any possible denial or deliberate mystification about what is happening there—and who is really responsible for the bald-faced lie.

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Aaron Betsky at Architect Magazine:

When I travel to China, I find big, bold buildings for the arts in almost every city I visit. Building cultural facilities that double as monuments, markers, or anchors for a community marks a certain stage in a country’s social and economic development.

The United States has gone through waves of museum and concert hall construction starting in the Gilded Era. Japan threw up a slew of such structures during its boom in the 1980s. Europe saw a profusion of local community buildings devoted to culture using E.U. funds around the turn of the century.

China has been building structures devoted to music, visual arts, libraries, and other forms of culture at the same time as it has been threading its country with tens of thousands of miles of trains, subways, and other transportation infrastructure. The arts and learning projects are often prospective monuments, seeking to give focus and meaning to new or exploding urban areas.

more here.

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Robin Givhan in The Washington Post:

Along the steps leading into the New York Public Library on the last day of June, a small crowd gathered to watch a parade of guests make their way inside for Marc Jacobs’s fashion show. The arrivals included fashion editors, stylists and friends — many of them wearing Jacobs’s designs. The more daring were dressed in recent runway ensembles, some of which made walking perilous and moving through narrow doorways a high-class geometry problem.

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Careers

What is the life
of the old lady
standing
on the stair
print flowered
housedress
gray and orange
hair
bent
on a rail
eyes open for
jr.
bobby
jb. somebody
to come, and carry her
wish
slow
cripple woman, still does
white folks work
in the morning she gets up
creeps into a cadillac
into the florient lilac titty valleys
of blind ugliness, you think the woman loves
the younger white woman
the woman she ladles soup for
the radio she turns on when the white lady nods
she carries them in her bowed back hunched face
my grandmother worked the same
but stole things for jesus’ sake
we wore boss rages in grammer school
straight off the backs of straight up americans
used but groovy and my grandmother when she returned at night
with mason jars and hat boxes full of goods
probably asked for forgiveneess on the bus
i think the lady across from me must do the same
though she comes back in a cab, so times, it seems
have changed.

by Imamu Amiri Baraka
from To Read a Poem
by Donald Hall
Holt, Rinehart and Winston Inc., 1992

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