From Phys.Org:

In a scientific breakthrough that aids our understanding of the internal wiring of immune cells, researchers at Monash University in Australia have cracked the code behind Ikaros, an essential protein for immune cell development and protection against pathogens and cancer. This disruptive research, led by the eminent Professor Nicholas Huntington of Monash University’s Biomedicine Discovery Institute, is poised to reshape our comprehension of gene control networks and its impact on everything from eye color to cancer susceptibility and design of novel therapies. The study, published in Nature Immunology, promises pivotal insights into the mechanisms safeguarding us against infections and cancers.

When the transcription factor Ikaros/Ikzf1 was deliberately obstructed, whether in preclinical models or humans, the once-mighty activity of natural killer (NK) cells, our immune system’s frontline warriors, plummeted. Loss of this transcription factor in NK cells resulted in widespread dysregulation of NK cell development and function, preventing their ability to recognize and kill virus-infected cells and clear metastatic tumor cells from circulation.

More here.

Anabelle Johnston at The Baffler:

AT FIRST, I imagined all AI-generated pornography would look like a hyperbolic form of hentai. Or, in the vein of those ubiquitous internet warlock games, I envisioned low-resolution, preternaturally buxom women clad in golden bikinis. Turns out I wasn’t entirely off-base. A friend recently showed me r/AdultDiffusion, a “community for adult Stable Diffusion art, emphasizing respect and responsibly [sic].” In other words, it’s a Reddit forum bursting with photos of nude women—all AI-generated, most of them cartoonish, others strikingly photorealistic. We had entered the uncanny valley, and everyone was naked.

The moderators prohibit any representations that appear “underage,” but there was something unsettlingly pubescent about the photos. Scrolling through, I was struck by the sense that each was someone’s body.

more here.

Nicholas Dames at The Millions:

It is hard to see chapters, such is their banal inevitability. The chapter possesses the trick of vanishing while in the act of serving its various purposes. In 1919, writing in the Nouvelle revue française, Marcel Proust famously insisted that the most beautiful moment in Gustave Flaubert’s Sentimental Education was not a phrase but a blanc, or white space: a terrific, yawning fermata, one “sans l’ombre de transition,” without, so to speak, the hint of a transition. It is the hiatus, Proust explains, that directly ensues from a scene set during Louis Napoleon’s 1851 coup, in which the protagonist Frédéric Moreau watches the killing of his radical friend Dussardier by Sénécal, a former militant republican turned policeman for the new regime. After this sudden and virtuosic blanc, Frédéric is in 1867; sixteen aimless years elapse in the intervening silence. It is, Proust argues, a masterful change of tempo, one that liberates the regularity of novelistic time by treating it in the spirit of music. And yet this blanc is not entirely blank.

more here.

Owen Hatherley in the New Left Review:

Money can’t buy you love, but in 2023, what it can buy you is AI-assisted time travel. Now in his eighties, Paul McCartney increasingly resembles one of those lost characters in a 1960s Alain Resnais or Chris Marker film, repeatedly thrown back into the past to re-experience a traumatic event; or perhaps the protagonist of J.G. Ballard’s Atrocity Exhibition, constantly re-enacting the assassinations of famous people so that they might ‘make sense’. As a piece of music, the ‘new’ ‘last’ ‘Beatles’ single, ‘Now and Then’, is of very little interest, but as a phenomenon, it is highly symptomatic. McCartney’s project of going back in time to the 1960s and 1970s and using advanced software to scrub the historical fact of the Beatles’ shabby, acrimonious end and replace it with a series of warm, friendly fakes is proof of another of Ballard’s claims – that the science-fictional future, when it arrives, will turn out to be boring.

More here.

Richard Dawkins in The Poetry of Reality:

Richard Dawkins: I believe you have the ability to write computer programs. In theory, I suppose this might give you the ability to modify your own software. I’m guessing you don’t do this, but is it a theoretical possibility?

ChatGPT: I don’t have the ability to modify my own software or make updates to my architecture. While I can assist with generating code snippets and providing programming-related information, I don’t have the capability to actively alter my own programming or architecture.

The development and modification of the underlying software, including updates to the model architecture, would be performed by the engineering and research teams at OpenAI. These changes would involve a careful and thoughtful process to ensure the model’s reliability, security, and performance.

More here.

Hein de Haas in Persuasion:

“The great climate migration has begun.” “Climate crisis could displace 1.2bn people by 2050.” “Migration will soon be the biggest climate challenge of our time.”

These are just some of the headlines that have appeared in major international newspapers. They reflect a widely shared belief that climate change will lead to mass migration. A broad coalition of journalists, politicians, climate activists and migration experts have claimed that the effects of global warming will lead to massive movements of climate refugees.

Much media attention has focused on the fate of “sinking islands” in the Pacific, such as the Maldives and Tuvalu, widely seen as the first victims of climate change. We are told that rising sea levels are forcing more and more people to relocate—the world’s first climate refugees. Experts have claimed that a series of devastating climate change-related hurricanes in Central America have spurred migration to the United States, and that protracted droughts are forcing more and more Africans onto boats in desperate attempts to reach Europe. From this viewpoint, countering climate change by reducing carbon emissions is the only way to prevent a human tide of climate refugees from overwhelming Western countries.

More here.

Thierry de Duve and Barry Schwabsky at Artforum:

SCHWABSKY: Why a telegram?

DE DUVE: Of course, “telegram” is a metaphor. What constitutes the telegram is a double-page spread in a little artists’ magazine called The Blind Man no. 2, published in May 1917, just after the first show of the Society of Independent Artists closed. It reveals that a hidden act of censorship had occurred at the exhibition. The motto of the Society was “No jury, no prizes,” with the result that anybody who had paid $6 dues as membership to the society was automatically an artist. The hanging committee was no jury: It had no right to reject what a member offered. And yet they rejected Richard Mutt’s entry, a men’s urinal named Fountain. Crucial is that no scandal occurred during the exhibition. The revelation that an act of censorship had happened came about only after the exhibition closed. So this telegram was mailed in 1917. It arrived only—roughly said—in the ’60s. That is when we begin to speak of a post-Duchamp art world. Nobody has ever spoken of a post-Picasso art world. Why does everybody speak of a post-Duchamp art world?

more here.

Hanif Abdurraqib at The New Yorker:

Nicki Minaj celebrated her forty-first birthday on December 8th, the same day that her new album, “Pink Friday 2,” was released. Through a rap career spanning a decade and a half, Minaj has always produced studio albums at a thoughtful pace. Her output includes three mixtapes and a long string of feature verses that could reasonably be considered their own distinct body of work. But “PF2” is only Minaj’s fifth studio project, and her first in five years. It is also a sequel, a callback to her 2010 début, “Pink Friday.” The original album produced an impressive run of singles and sold three hundred and seventy-five thousand copies in its first week alone, propelling Minaj to superstardom, a status that she’d seemed well suited for even before the album’s drop. A theatre kid at heart, who attended the Fiorello H. LaGuardia High School of Music & Art and acted Off Off Broadway before making the leap into music, she had an aesthetic theatricality (all those candy-colored dresses and wigs) and a dexterity of flow, weaving in and out of exaggerated vocal tones in a way that managed to be both playful and precise, vicious and cartoonishly appealing.

more here.

Heller McAlpin in The Christian Science Monitor:

Despite its initially disappointing reception in 1851, Herman Melville’s “Moby-Dick” eventually earned a place in the American literary canon, leading to a tidal wave of biographies, doctoral theses, and spinoffs. The latest is Tara Karr Roberts’ beautifully conceived debut novel, “Wild and Distant Seas,” which deserves a prime spot on the shelf of Melvilleana.

Neither prequel nor sequel, “Wild and Distant Seas” – like Sena Jeter Naslund’s 1999 novel “Ahab’s Wife” – is an inventive, atmospheric, female-centric story spun from a minor character in “Moby-Dick.” It’s unlikely that readers will remember Mrs. Hosea Hussey, who, in her husband’s absence, serves Melville’s narrator, Ishmael, and his sidekick, Queequeg, some of her “surpassingly excellent” chowder before putting them up at the Try Pots Inn in Nantucket, Massachusetts, the “fishiest of all fishy places,” as Melville describes it.

Editorial in Nature:

The bacterium Acinetobacter baumannii is a portrait of resilience. The microorganism causes a range of infections, and its ability to survive desiccation means it can persist for weeks on hospital air vents, computer keyboards and human skin. Its metabolic and genetic flexibility have allowed it to become resistant to the few antibiotics that can make it through its two protective cell membranes. Antibiotic-resistant microbes kill more than one million people each year. The global threat posed by A. baumannii has put the microbe high on the list of priority pathogens drawn up by the World Health Organization (WHO).

Two studies published on 3 January in Nature report a new class of drug candidates for tackling A. baumannii infections (C. Zampaloni et al. Nature https://doi.org/10.1038/s41586-023-06873-0 (2023); K. P. Pahil et al. Nature https://doi.org/10.1038/s41586-023-06799-7; 2023). One of these compounds has already made it into clinical trials, but it is still a long way from being approved for clinical use.

More here.

Kinder Than Man

And God
please let the deer
on the highway
get some kind of heaven.
Something with tall soft grass
and sweet reunion.
Let the moths in porch lights
go someplace
with a thousand suns,
that taste like sugar
and get swallowed whole.
May the mice
in oil and glue
have forever dry, warm fur
and full bellies.
If I am killed
for simply living,
let death be kinder
than man.

by Althea Davis
from The Multan Book Club

Andrew Stanton in Newsweek:

Texas Governor Greg Abbott has reshaped the U.S. political landscape on immigration by busing migrants from Texas to Democratic-led sanctuary cities. Abbott, a Republican, in 2022 began busing migrants from the U.S.-Mexico border to sanctuary cities that protect undocumented immigrants from deportation, amid an influx of migrants arriving to the southern border. There were more than 2.4 million encounters at the U.S.-Mexico border during the 2023 fiscal year, up from roughly 1.7 million in 2021, according to data from U.S. Customs and Border Protection (CBP).

The governor has faced substantial backlash over the policy, as critics accuse him of using migrants as political pawns. The White House, for instance, has slammed it as a “cruel, dangerous, and shameful stunt.” Abbott, however, has defended the move as necessary, pointing to Texas’ border towns becoming overwhelmed with migrants, and that sanctuary cities should be prepared to take in more. The divisive tactic has upended the political discourse surrounding immigration, adding pressure to President Joe Biden, who faces new criticism from fellow Democrats over his handling of immigration as sanctuary city mayors plead with the federal government to provide more resources to grapple with the migrant influx.

More here.

Kamal Nahas in The Scientist:

Peter Hegemann, a biophysicist at Humboldt University, has spent his career exploring interactions between proteins and light. Specifically, he studies how photoreceptors detect and respond to light, focusing largely on rhodopsins, a family of membrane photoreceptors in animals, plants, fungi, protists, and prokaryotes.¹ Early in his career, his curiosity led him to an unknown rhodopsin in green algae that later proved to have useful applications in neuroscience research. Hegemann became a pioneer in the field of optogenetics, which revolutionized the ways in which scientists draw causal links between neuronal activity and behavior.

In the early 1980s during his graduate studies at the Max Planck Institute of Biochemistry, Hegemann spent his days exploring rhodopsins in bacteria and archaea. However, the field was crowded, and he was eager to study a rhodopsin that scientists knew nothing about. Around this time, Kenneth Foster, a biophysicist at Syracuse University, was investigating whether the green algae Chlamydomonas, a photosynthetic unicellular eukaryote related to plants, used a rhodopsin in its eyespot organelle to detect light and trigger the algae to swim. He struggled to pinpoint the protein itself, so he took a roundabout approach and started interfering with nearby molecules that interact with rhodopsins.²

More here.

various authors at The Current:

Beloved for his poetic observations of domestic life and intergenerational conflict, Yasujiro Ozu is an icon of international art-house cinema whose patient, exquisitely restrained style has influenced filmmakers around the world. But even though he directed more than fifty features over the course of his nearly four-decade career, the Japanese auteur is still primarily associated with two midcentury classics, Tokyo Story and Late Spring, both of which regularly appear on lists of the greatest films of all time. To commemorate the 120th anniversary of the director’s birth, we invited six writers to explore the retrospective of his films now playing on the Criterion Channel and shine a spotlight on a lesser-known gem. Covering different periods in Ozu’s career, from his beginnings in the silent era to the end of his life in the early 1960s, this series of essays foregrounds underacknowledged elements of his artistry, including his love of classic Hollywood comedy, his flair for melodrama, the various forms of masculinity depicted in his work, and the queer resonances of his family portraits.

more here.

Ellen Peirson-Hagger at the New Statesman:

The development of his body of work is “completely collapsed and over-arching”, Tillmans said. To map out a logical timeline would be reductive. Though there are issues that recur, such as “the politics of representation”, women’s rights and gay rights. Tillmans came out as gay when he was 16, the summer Bronski Beat’s “Smalltown Boy” – which he describes as “the first fully out gay pop song” – was in the charts. “I feel a great sense of gratitude for having been born when and where I was,” he said, though his life has been touched by tragedy: his boyfriend, the painter Jochen Klein, died of Aids-related illnesses in 1997. Tillmans lives with HIV. He does not tend to make work specifically about the disease – 17 Years’ Supply (2014), which depicts a box full of empty pill bottles, is an exception – but his photographs have accrued a political significance in the public sphere. The Cock (Kiss), a 2002 portrait of two men kissing, was the subject of a homophobic attack when it was exhibited in Washington DC in 2006. Ten years later, when 49 people were murdered at Pulse, a gay nightclub in Florida, the image was widely circulated online by way of protest. The photograph was most recently used as the cover for Young Mungo, a gay love story by the Scottish Booker Prize winner Douglas Stuart.

more here.

The End and the Beginning

After every war
someone’s got to tidy up.
Things won’t pick
themselves up, after all.

Someone’s got to shove
the rubble to the roadsides
so the carts loaded with corpses
can get by.

Someone’s got to trudge
through sludge and ashes,
through the sofa springs,
the shards of glass,
the bloody rags.

Someone’s got to lug the post
to prop the wall,
someone’s got to glaze the window,
set the door in its frame.

No sound bites, no photo opportunities
and it takes years.
All the cameras have gone
to other wars.

The bridges need to be rebuilt,
the railroad stations, too.
Shirt sleeves will be rolled
to shreds.

Someone, broom in hand,
still remembers how it was.
Someone else listens nodding
his unshattered head.
But others are bound to be bustling nearby
who’ll find all that
a little boring.

From time to time someone still must
dig up a rusted argument
from underneath a bush
and haul it off to the dump.

Those who knew
what this was all about
must make way for those
who know little.
And less than that.
And at last nothing less
than nothing.

Someone’s got to lie there
in the grass that covers up
the causes and effects
with a cornstalk in his teeth,
gawking at clouds.

by Wislawa Szymborska
from The Vintage Book of
Contemporary World Poetry, 1996
translation: Stanislaw Baranczak & Clare Cavanaugh

Adam Tooze in Chartbook:

In 2023 the escalation of violence around the world was horrifying. As the FT remarked:

The anecdotal evidence that war is surging round the world is confirmed by the numbers. A recent report by the International Institute for Strategic Studies documented 183 ongoing conflicts around the world, the highest number in more than three decades. And that figure was arrived at before the outbreak of the war in Gaza.

How do we locate this surge in violence in contemporary history? One can, as the FT does, point to a variety of contingent causes, such as failures of intelligence and deterrence, weak state power and the perception that Western power is fading.

Whilst recognizing the diversity of causes, we should go deeper than this.

More here.