Over at Crooked Timber, Maria Farrell on the movie:

In the tortured process of creating the film – Tom Stoppard’s treatment dropped in favour of Chris Weitz’s unsolicited one, Wetitz being fired, another director coming on and being fired, Weitz’ return, New Line’s insistence on dropping the voice actor for Iorek Byrnison in favour of a marquis name in fantasy film, Ian McKellen – the one continuous theme is the rationalization by the creatives of studio power. Weitz says he “grew” a lot between being the first and third director of the film. Presumably the creative differences just stopped bothering him. And public atheist Pullman says he isn’t perturbed at all by the complete excision of theocratic corruption in the film because all forms of totalitarianism are the same.

Except they’re not. Life in a theocracy means everyone – not just members of the Communist party or the military junta – must live out the philosophy of the rulers every day of their lives. There is a peculiarity to a complete absence of the separation of church and state that doesn’t prevail in a communist or a fascist state. When there is no distinction between religious and secular power, it’s not enough to obey the rules, you have to believe in them, too. Theocracies are obsessed with sexuality in a way that common or garden totalitarianism is not. Women get a spectacularly raw deal in a theocratic state, which is what makes Mrs. Coulter such a notable character; she plays the religious hierarchy at their own game and wins, albeit at a terrible cost.

Cutting out the special viciousness of theocratic totalitarianism from His Dark Materials is its own form of intercision, the books’ term for an operation that separates children from their daemons and cleanses them of original sin.

Over at the NYT’s Tierney Lab, “Richard Shweder, a cultural anthropologist at the University of Chicago and one of the organizers of Saturday’s debate on this topic at the American Anthropological Association’s annual meeting” responds to the issues raised is Tierney’s post:

[I]n recent years there have been two major scientific reviews of the medical literature and an exemplary Gambia-based research study, which have raised serious doubts about the supposed effects on mortality, morbidity and sexuality that are so often attributed to these customary surgeries; yet, as far as I know, there has been absolutely no mention of these reviews and studies in any American newspaper or on NPR, although one might have thought they were sufficiently eye-opening and significant to warrant media coverage.

Any reasonably objective assessment of the risks and consequences of female genital surgeries should begin with the epidemiologist and medical anthropologist Carla Obermeyer’s comprehensive and critical reviews of the medical and demographic evidence on the topic (published in the journal Medical Anthropology Quarterly). Her first publication reviews and critiques the available literature on female genital surgeries through 1996; her second publication reviews the subsequent literature from 1997-2002. The third key source is a research report by Linda Morison and her Medical Research Council team published in 2001 in the journal Tropical Medicine and International Health. That research, conducted in the Gambia, is the most systematic, comprehensive and controlled investigation of the health consequences of female genital modifications yet to be conducted.

Here is a link to the WHO-Lancet study on female ‘circumcision’.

A month after he had fled Nazi-occupied Vienna and settled safely in London, Sigmund Freud had an unwelcome encounter with Salvador Dali. Escorted by Freud’s friend Stefan Zweig, Dali visited the frail psychoanalyst in his new home and harangued him on the subject of ‘an ambitiously scientific article’ that he – Dali – had written on paranoia. At first stonily indifferent, Freud muttered to Zweig: ‘What a fanatic!’ But then Freud made a characteristically double-edged observation: ‘In classic paintings I look for the subconscious, in surrealist paintings for the conscious.’ Probably correctly, Dali interpreted this dictum as ‘a death-sentence on surrealism’.

However Freud may have meant it at the time, it is a comment that illustrates a neglected side of him. While he is rightly remembered for revealing the power of the unconscious in human life, Freud was always on the side of the conscious self.

more from Literary Review here.

I can’t remember there ever being more hope and goodwill toward an art institution than there is right now for the New Museum, as it moves into its new $64 million building on the Bowery. Partly this is because the New Museum, despite having been something of a local mascot over the 30 years since its founding, has never quite hit its stride; it has usually bounced between being audacious and being annoying. Partly it’s because other New York museums have been so uneven about contemporary art. MoMA is adrift, the Guggenheim’s leaders continue to make terrible decisions, and the Brooklyn Museum is a giant wasted opportunity. The general feeling is, this is the New Museum’s last best chance to get it right.

more from New York Magazine here.

Jack Kahane arrived in Paris from Manchester in the 1920s, bent on making his name as a novelist and publisher. As a writer, he leaned towards the flippant, dashing off a series of tales, the saucy titles of which are surely more entertaining than the contents: Suzy Falls Off, It’s Hard To Sin, Amour French for Love, The Gay Intrigue, etc. It was as a publisher that Kahane hoped to be a true original – the daring pioneer who uncovers a scandalous masterpiece. From 1929 onwards, he was the proprietor of several imprints (collectively discussed here as the Obelisk Press). He wanted a book that would appeal to the discerning and the vulgar reader at once, “an unprintable book that is fit to read”, in the words of Ezra Pound. Lady Chatterley’s Lover was such a book, and Kahane published it in 1936, though there had been half-a-dozen previous editions, including the expurgated one produced by Secker in 1932.

more from the TLS here.

From Wired:

1941: Air raid, Pearl Harbor. The Japanese, concluding that war with the United States is inevitable, attempt to knock out the U.S. Pacific fleet based in the Hawaiian Islands at Pearl Harbor. Japan knew it could not defeat the Americans in a conventional war, lacking as it did sufficient manpower and raw materials (notably oil) for such a sustained effort. By destroying the U.S. fleet all at once as war began, the Japanese were gambling that they would be able to complete their Asian conquests before the Americans could recover.

A successful raid, the Japanese believed, would delay America’s entry into the war by months, if not years. Faced with the reality of an unassailable Pacific empire, the Americans might then choose negotiation over fighting. Minoru Genda, one of the Imperial Japanese Navy’s most innovative officers, was the primary architect of the Pearl Harbor raid. Success, he knew, could only be achieved through total surprise. Relying on carrier-based dive bombers, fighters and torpedo planes, his targets included not only the ships anchored at Pearl but the nearby airfields and oil storage facilities. Observing strict radio silence, the Japanese task force put to sea Nov. 26 and steamed undetected to within striking distance of the Hawaiian Islands. The first wave of attackers left their carriers upon receipt of the signal “Climb Mount Niitake” and were guided in by picking up the signals from a Honolulu radio station.

Early on a Sunday morning, Pearl Harbor was not exactly on combat alert even though the Americans knew — from having broken the Japanese codes — that an attack somewhere was imminent. They never dreamed an attack would come this far east, however. When a couple of radar operators working a test problem near Pearl reported a huge blip headed their way, they were essentially told to forget about it.

More here.

From Nature:

A whiff of a single type of protein from urine is enough to make a male mouse pick a fight, researchers have found. Pheromone scents that elicit aggressive behaviour have long been predicted, but have proven elusive until now.

Male mice will attack other mice they see as a threat, such as males that invade their territory, but will generally welcome females and leave juveniles or castrated males alone. When they do attack it can be quite aggressive. “The resident will chase the intruder, bite, kick and wrestle with him,” says Lisa Stowers, a biologist at the Scripps Research Institution in La Jolla, California who along with her colleagues has identified a protein that provokes this aggression.

Stowers and her colleagues filtered mouse urine by fractionation to sort the molecules by size. They then tested to see which samples — when dabbed on a castrated male — elicited an aggressive response from resident males. The researchers narrowed the search down to a group of molecules called the major urinary proteins (MUPs), whose role in chemical communication has been only suspected until now.

More here.

Carla Blumenkranz looks at the evolution of Gawker in n+1:

The purpose of Gawker Media was always to improve on the print publishing business model. It was never, as the content of Gawker sometimes seemed to suggest, to produce investigative critiques of the waste that model created. The content at Gawker, like most Condé Nast publications, is a service to the advertisers.

No one ever said Nick Denton was an altruist. But it’s important to note that Gawker Media was designed to compete with the corporations that Gawker abused from the sidelines, because this is what created the dissonance of the site’s later years. From the beginning, it was crucial that Denton hire novice writers for Gawker, not to mention the rest of his titles. These writers came cheap, and they also were useful in their real fascination with their self-important subjects. It was the writers, from Elizabeth Spiers to Emily Gould, who sold Denton’s cynical project to his cynical audience, on the strength of their authentic interest in the material (even when that interest was as conflicted as Choire Sicha’s).

But this agreement between Denton and his hires was based on a misunderstanding. The Gawker editors have always been forthright about the fact that what they wanted was to leave Gawker—its low pay and marginal status—and work for the people they maligned. This stance was supposed to give them more credibility; it was also a form of flattery. Furthermore, it was the truth. But in fact they already were working for a media corporation that functioned more effectively but in the same way as the ones they criticized, and as media players the Gawker editors had become more powerful than many of their targets. Gawker retained the stance of a scrappy start-up and an attitude of populist resentment toward celebrities and insiders, even as it became the flagship publication of an online media empire. The status of Gawker rose as the overall status of its subjects declined, and it was this that made Gawker appear at times a reprehensible bully. You could say that as Gawker Media grew, from Gawker’s success, Gawker outlived the conditions for its existence.

Emily over at Gawker reads Blumenkranz’s piece and has an epiphany.

Later Keith asked me what I thought about Carla’s essay and I said that I didn’t really think she was wrong about anything, except that Jessica Coen had not “grown up in Los Angeles.” By then we were standing high on the F train elevated platform at Smith and 9th Streets. The Statue of Liberty looked like a little dashboard adornment beyond the B.Q.E.

I took a phone call and when I got back, Choire had told Keith he was quitting Gawker. 

“Yup, we’re quitting!”  I said. 

“Because of this?” Keith asked. 

“Sort of. Well, not because it was written. But because it’s not untrue.”

[H/t: Jane Renaud]

In the Economist:

Real-world trade in virtual items is allowed in virtual worlds that are intended to simulate reality, such as Second Life and Entropia Universe. And it has been going on for years among players of “massively multiplayer online” role-playing games such as “World of Warcraft”, “EVE Online” and “Lineage II”, even though such trading is banned in many game worlds, since it upsets the competitive balance if some players buy weapons or armour rather than earning them in the game. “We don’t allow real-money trades in our games because we think it creates an unfair advantage to those who are trying to play the game as it was created to be played,” says a spokesman for NCsoft, the maker of “Lineage II”.

In practice, however, preventing trade in virtual items is difficult, and several dedicated trading platforms have emerged to enable players to buy and sell in-game items. One of the biggest, IGE, based in Hong Kong, is now being sued by a “World of Warcraft” player who claims it has spoiled his online fun. Mr Kane says the value of virtual items traded hit $1 billion in 2006. Dan Kelly, the boss of Sparter, a trading platform based in Menlo Park, California, says that figure will double this year.

Over at bloggingheads.tv, Carl Zimmer and Lee Silver discuss stem cell and ethics.

We are 12 days into the annual 16 Days of Activism Against Gender Violence. On that occassion, this interview (mp3) in openDemocracy.

Afaf Jabiri is regional coordinator of Karama (‘dignity’ in Arabic) – a network of women activists working to end violence against women in the Middle East and North Africa. Groups in Tunisia, Algeria, Morocco, Egypt, Sudan, Palestine, Jordan and Lebanon work together to develop country specific strategies for ending violence against women on their own terms.

Karama’s approach to tackling violence against women goes beyond drawing attention to the impact it has on women physically and emotionally. The network takes into account the root causes and social consequences of the violence by highlighting the impact it has on different sectors of society – political, economic, health, education, religious and media.

Recently, the Indian state of West Bengal banned the third volume of Taslima Nasreen’s autobiography, Dwikhandito. She eventually caved and removed the controversial lines. In Outlook India, an interview with her just prior to the redaction:

[OI] You have been a writer who has courted controversy even before Lajja was published. What made you take on the fundamentalist Islamists head on?

[TN] I was a newspaper columnist writing on women’s issues. Whenever the fundamentalists didn’t like what I wrote, they showed their anger. I got a lot of support and my writing was very popular. Readers liked the way I wrote, maybe because what I wrote shook them up.

But the fundamentalists were much more angry with me because I wrote about women. Because when I wrote about women’s rights, I also wrote against the fundamentalists. Women’s rights and fundamentalism can’t go together; the latter are against liberal thought and equality.

Over at Vox, Peter H. Lindert, Branko Milanovic, and Jeffrey G. Williamson look at the issue.

How does inequality in today’s least developed, agricultural countries compare with that of ancient societies dating back to the Roman Empire? Did some parts of the world always have greater income inequality than others? Was inequality augmented by colonization? Did the industrial revolution lower inequality or raise it?…

Some key aspects of inequality have been uncovered by this initial look at ancient societies.4 On the average, income inequality in today’s countries is not very different than it was in distant times. However, the extraction ratio – how much of potential inequality was converted into actual inequality – was significantly bigger then than now. This ratio measures how powerful and extortionary are the elite, its institutions, and its policies. While a relation between conflict and actual inequality has proven hard to document on modern evidence, the introduction of the extraction ratio might shed brighter light on that conjecture. It might also show more clearly how colonisers exploit the colonised: indeed, some preliminary ancient inequality evidence suggests higher extraction ratios in colonised s than in autonomous societies. Unlike the findings regarding the evolution of the 20th century inequality in advanced economies, our ancient inequality sample does not reveal any significant correlation between the income share of the top 1 percent and overall inequality.

From The New York Review of Books:

A Farewell to Alms: A Brief Economic History of the World (Princeton Economic History of the Western World) by Gregory Clark:

In any society at any time there is a reasonably well defined notion of “subsistence,” a level of income, essentially wages, just adequate to support a standard of living that will lead the average family to reproduce itself. Subsistence has a hard physiological basis in calories, necessary nutrients, protection from weather, and the like, but it can be modified by cultural factors, social norms, and customs. If wages happen to exceed subsistence for a while, because of good harvests or a reduction in the supply of labor through war or disease, normal mortality will decrease, fertility may rise, and the population will increase. But not for long: the pressure of a larger working population on a fixed supply of land and resources will force labor productivity and wages to fall. (That is the famous law of diminishing returns: the idea is that as more and more workers are squeezed onto the same area of land, at some point each additional worker will be able to add less output than his predecessor did, simply because he has a smaller share of the land to work with.)

This process cannot stop until wages are back to the subsistence level. The population will be bigger, but its members no better off than they were. If harvests then go back to normal, productivity and wages will fall below subsistence and the process just described will go into reverse: higher mortality will cause population to fall until productivity and wages return to the subsistence level and then stabilize. This is a simple and powerful story, and it has just the implications needed to explain the grim preindustrial history. The key implication is that the material standard of living of any population is determined only by the level of subsistence. Incremental technological progress, which certainly took place in England — and elsewhere — between 1200 and 1780, does not seriously improve living standards; it just allows a larger population to be supported.

More here.

From Scientific American:

Men marry younger women and women prefer to marry older men, in general. But is it culture, genetics or the environment that drives such a choice—and is there an optimal age difference? New research shows that, at least for the Sami people of preindustrial Finland, men should marry a woman almost 15 years their junior to maximize their chances of having the most offspring that survive.

“We studied how parental age difference at marriage affected [families’] reproductive success among Sami people who married only once in their lifetime[s],” says ecologist Samuli Helle of the University of Turku in Finland. “We found that marrying women 14.6 years younger maximized men’s lifetime reproductive success—in other words, the number of offspring surviving to age 18.”

More here.

Charles Taylor reviews Dinesh D’Souza’s The Enemy at Home: The Cultural Left and Its Responsibility for 9/11 in Dissent.

DINESH D’SOUZA’S The Enemy at Home is a declaration of common cause with people who have declared themselves against the basic concept of democracy. It doesn’t much matter that D’Souza is courting “traditional Muslims,” the phrase he uses to denote those who don’t share the radical Muslim belief in terrorism. His vision is of America as the altar of a West-East theocracy that would root out any American who doesn’t share its values. D’Souza, he is careful to point out, does not support terrorism. The question The Enemy at Home leaves you with is, why not?

In The Enemy at Home, D’Souza claims that the American left makes up a “domestic insurgency.” (Going Joe McCarthy one better, he helpfully supplies a list of names.) In this reactionary romance, the left, hating Bush more than Osama bin Laden, wants to see the president defeated. Understanding that Muslims, given the chance at democratic elections, will establish states ruled by the traditional morality they despise, the left wants to halt the potential for democracy in the Middle East.

Meanwhile, D’Souza dreams of halting democracy at home. He posits the depraved, atheistic values of the American left as the source of Muslim anger toward America and concludes that terrorism can’t be defeated abroad unless the left is defeated at home. To achieve this, D’Souza, seeing what he believes is an obvious alliance, ominously calls for the American right to “convince traditional Muslims that there are two Americas, and that one of these has a lot in common with them.”

D’Souza shares the Islamic radicals’ disgust with contemporary America, which he sees as a sewer of unutterable depravity. He respects the radicals for their commitment to a strict “traditional” moral code—none more so than Osama bin Laden, whom he dotes on in passages that suggest a schoolboy crush: “Just about everyone who has met bin Laden describes him as a quiet, well-mannered, thoughtful, eloquent, and deeply religious man . . . it is remarkable that a man born into a multimillion-dollar empire, a man who could be on a yacht in San Tropez with a blonde on one arm and a brunette on the other, has chosen to live in a cave in Afghanistan and risk his life for his beliefs.”

It is ironic, to say the least, that the emblem of opera in the popular imagination is a fat, blonde-haired woman wearing a two-horned helmet. The image comes, by way of cartoons and parodies, from Wagner’s Ring, but Wagner himself would have been the last person to view his great work as the essence of opera. He thought what he was building in this eighteen-hour, four-evening piece was precisely not opera, but a rebellion against opera as he knew it—a fresh form that required a new name (something along the lines of “music drama”) and that could not be performed in a standard opera house, but needed its own special festival setting. That Bayreuth in particular and Wagnerism in general have hardened into the strictest of operatic traditions is an irony which would not have been lost on the composer, for the oppressive and finally triumphant power of rules, even or especially in the face of the deepest individual desire to break them, is one of the Ring cycle’s central themes.

more from Threepenny Review here.

The Enigma of Arrival is a work of extraordinary originality and achievement that not only wears down the reader’s resistance (groaning initially at how so much traveloguing impressionism can be served up as art), but which ultimately contains such gravity and truth that it illuminates and moves the reader so much that he or she is likely to think ever after that any objection that can be brought to its author, on the grounds of his personality or his prejudices, his incidental vices or frailties, is like the trivia of scholars who take a dim moral view of Shakespeare because of the supposed niggardliness of his business transactions.

And, yes, it is a documentary novel, if it can be described as a novel at all, set by and large in the English countryside where the author (ostensibly identical with his biographical self) is apparently adjusting to the rigours of middle age. Having made the arduous, uncertain journey from Trinidad to Oxford more than 30 years earlier, he finds himself at home in Britain, renting a cottage on the estate of some landed gent.

more from Australian Literary Review here.

From 1974 until he died, Warhol squirrelled away the daily accumulations and detritus of his day in what he called time capsules. Over those final 13 years, he filled 570 cardboard boxes, 40 filing cabinets and one large trunk with the surface contents of his desk, leaving behind an archive that must rank as the most extensive collection of the incidentals of any artist. Another way to think of the Warhol time capsules would be as a giant, three-dimensional diary.

The collection is held at the Warhol museum in the old steel town where he was born and raised, Pittsburgh. The boxes are stored in air-controlled rooms, lined up neatly like funeral urns. Only 91 of the 611 capsules have been opened, and only 19 have been fully analysed and recorded.

The museum now has the chance to finish the job. It was recently awarded a $650,000 grant by the Andy Warhol Foundation to complete the digital cataloguing of the entire collection. Three full-time archivists will spend the next three years painstakingly opening up and going through all the remaining boxes.

more from The Guardian here.

John Updike on Gustav Klimt in the New York Review of Books:

The Gustav Klimt exhibition, which opened on October 18, 2007, will fill the Neue Galerie until the end of June next year. Its attention-riveting center is Klimt’s 1907 portrait of the prominent Viennese society figure and art patron Adele Bloch-Bauer, executed in oils, silver, and gold—a radiant example of his so-called Golden Style, which was inspired by the artist’s two visits, in 1903, to Ravenna, where he saw the Byzantine mosaics in the church of San Vitale.

He was especially taken, Renée Price tells us in her commentary on the painting, by the mosaic image of the Empress Theodora, “glittering before an abstract gold background.” These were “mosaics of unprecedented splendor,” he wrote to his friend Emilie Flöge. But Byzantine mosaics were not the only influences tugging this portrait toward decorative abstraction: Russian icons also embedded faces in a plane of gold; Egyptian art, which fascinated Klimt, is echoed in the hieroglyphic eyes dominating Adele’s strapped dress; and Japanese woodcuts, Janis Staggs writes in her catalog essay on Klimt’s relation to Emilie Flöge, “typically schematize the hu-man body hierarchically: the face and hands are depicted with painstaking verisimilitude, whereas other physical attributes—as well as clothing and elements of nature—are rendered more abstractly.” Horizontal eyes and vertical half-moons in the sitter’s garments both suggest vaginas, indicating another of the painter’s interests and doing nothing to discourage persistent but unproven rumors of a romantic connection between the artist and his subject.

More here.