David Katzenstein at Commonweal:
In the brief introduction to Distant Journeys, a new collection of photography assembled from trips undertaken over nearly five decades and across six continents, David Katzenstein tells us that his “passion for discovery” began early. Perhaps it was when he was only three years old, gripping his father’s back as their “frisky gray mare” galloped across a beach in Cuba, or when he visited Norway at age seven and watched a waterfall plunge half a kilometer into the sea below. It’s not surprising that he became a photographer: both memories, distant but visually and metaphorically precise, evoke the shifting perspectives that have defined his work throughout his career.
At first glance, the few images presented here, though taken in places as far-flung as Senegal, India, and Sicily, are neither exotic nor extraordinary. They show people going about their daily lives: milling around in a market, dancing in a sweaty living room, snapping photos at a festival with their phones. But there’s mystery here, too.
more here.
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Capitalism thwarts and stunts the creativity of human beings. It robs the mass of the population of control over their own labour, and therefore over production generally. It denies the vast majority of people creative expression in their daily work lives, and this affects all of life. Workers are robbed not just of artistic creativity but even of our potential to be an audience for art. Yet there is a constant struggle to free humanity’s potential. And there have always been troublesome artists and troublesome art. The contradictions of capitalism mean that it is possible, at least to some extent, for artistic expression to develop in opposition to the dominant trajectory of society. Bertolt Brecht’s poem “Motto” makes the point:
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New image-making technologies
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Trump is symptom, not cause, of the “crisis of democracy.” Trump did not turn the nation in a hard-right direction, and if the liberal political establishment doesn’t ask what wind he caught in his sails, it will remain clueless about the wellsprings and fuel of contemporary antidemocratic thinking and practices. It will ignore the cratered prospects and anxiety of the working and middle classes wrought by neoliberalism and financialization; the unconscionable alignment of the Democratic Party with those forces for decades; a scandalously unaccountable and largely bought mainstream media and the challenges of siloed social media; neoliberalism’s direct and indirect assault on democratic principles and practices; degraded and denigrated public education; and mounting anxiety about constitutional democracy’s seeming inability to meet the greatest challenges of our time, especially but not only the climate catastrophe and the devastating global deformations and inequalities emanating from two centuries of Euro-Atlantic empire. Without facing these things, we will not develop democratic prospects for the coming century.
I think this is important: memories and ideas happen in a place. An essay is a place for ideas; it has to feel like a place. It has to give one the feeling of entering a room.
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Palm reading, also known as palmistry or chiromancy throughout history, has been far more than a party trick for centuries. Dating back to classical antiquity, the idea that a soothsayer can tell something about a person’s health, disposition, or destiny from the lines on their palm has long fascinated seers and scientists alike.
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The dawn of annoyingly massive satellites is upon us, shielding our views of the shimmering cosmos. Five of the largest communication satellites just unfolded in Earth orbit, and this is only the beginning of a Texas startup’s constellation of cellphone towers in space.