Sheherzad Preisler in Sheher’s Weblog:

I am eleven years old, and I live in Massachusetts with my mother. I am writing this essay about the Hurricane Katrina because I feel the need to stand up and say something about this catastrophe that may help us do better in future emergencies such as this one. I have been deeply affected by the amount of destruction the hurricane has done. I remember about two years ago, my mom and I went to New Orleans for a visit. It was such a beautiful city, and we wanted to visit much more often. I remember my mom and I walked into a beautiful boutique not too far from the Canal Street shops, and we made sort of friends with the shopkeeper from that boutique. She was very nice to us, and I remember buying a little glass frog from there. I was looking at my somewhat large collection of marble and glass figurines a couple of days ago, and I came across that small glass frog. The moment I saw it, I became overcome with emotion. I couldn’t stop thinking about the fact that that nice woman might be dead right now.

More, including recommendations on what to do from young Sheher, and pictures, here.

According to Marjorie Kehe of The Christian Science Monitor, Michael Kimmelman’s new book The Accidental Masterpiece: On the Art of Life and Vice Versa will have the following effects:

Your backyard will look like a museum and the subway platform will seem oddly inspirational. What you will find is that art is everywhere. And what could be bad about a discovery like that?

I couldn’t help but be reminded of the conceptual work of Robert McCarren, an artist who simply builds platforms all over the world for people to enjoy views – his work turns the world into a museum, basically, and his platforms are like benches in a gallery. I am writing an essay about McCarren for an upcoming show called “Almost Something” which opens on Sept 17th. Timothy Don, whose work has been influential on McCarren, wrote about a series of broken-down barns in Kentucky as if they were art for 3QD in “Down the Rabbit Hole.” Mr. Don’s term for such work is “Found Installation.” McCarren, on the other hand, calls his work “Invisible Art”; he also insists that he’s not an artist at all. I think the general idea is similar to Kafka’s “Nature Theater of Oklahoma” and Coleridge’s description of “the secret ministry of frost.” The implications of intentionality in nature are of course problematic.

Anya Kamenetz in The Village Voice:

Along with the rest of the nation, the rest of my hometown’s residents, and my friends and family, I’ve flown through a lot of emotions in the past week since Hurricane Katrina wrecked my city of New Orleans: fear, rage, anxiety, and grief. While the bodies are still being counted, I’ve currently settled on shame. I am ashamed to be an American. We are a people who constantly avow belief in various gods, in liberty and justice, and yet our fellow American citizens, ancient ladies and four-day-old infants, were left to die in the streets for lack of food and water as though they were born in the slums of Mumbai or the favelas of Brazil. We tell ourselves and the world we can do anything, be it grow crops in the desert or bring democracy to Iraq, yet we can’t land a helicopter on Interstate 10 or get buses to a convention center.

I extend that shame to those trapped who turned to violence.

More here.

From The National Geographic:

An exhibition starring real, skinned human corpses arranged in poses—a soccer player in mid-kick, for example—is drawing record- breaking crowds and controversy to a Florida museum. Fetuses and a cigarette smoker’s tarred lungs are among the 20 corpses and 260 body parts on display. “Bodies: The Exhibition” opened August 18 at the Museum of Science and Industry in Tampa. The bodies in question are unclaimed or unidentified individuals from China. As such, neither the deceased nor their families consented to the use of the corpses in the exhibit.

More here.

From The Washington Post:

Of making many books there is no end. So it was written in the Bible, and more than 2,000 years later it still is true. Like bread and brick, the book goes on, issuing from presses, outliving all notions of technological change. Perhaps it’s as a Victorian do-gooder once said: “A good book is the best of friends, the same today as forever.” Well, dear reader, get ready for a horde of friends to overrun your house this fall: The sheer volume of book production is breathtaking.

On Beauty: by Zadie Smith (Penguin, Sept.). As if life weren’t chaotic enough for a British art professor and his African American activist wife, their son goes and falls in love with their nemesis.

Saving Fish From Drowning: by Amy Tan (Putnam, Oct.). Eleven American tourists in Burma wander into the jungle and meet a tribe that forever alters their perceptions of life.

Female of the Species: by Joyce Carol Oates (Harcourt, Jan.). More stories from the ever-fevered imagination of an American institution.

More here.

William Saletan writes in Slate:

When the history of our disgraceful preparation for and response to Hurricane Katrina is written, logistical failures—evacuation, flood planning, aid delivery, communication—will be only half the story. The other half will be our government’s incomprehension of the human part of the disaster. I’m not talking about the victims. I’m talking about the perpetrators, most of them ordinary people. The crime in New Orleans was not isolated. The lawlessness should not have been surprising. Disasters do not tend to bring out the best in people. And if you want to stop them from bringing out the worst, preaching is a lot less effective than weapons and aid.

What’s striking about most of the crime is how ordinary the perpetrators and their motives are. They steal food and clothing. They say it’s for their kids or neighbors. They argue—and some store managers agree—that that the flood would have ruined the goods anyway. Interviewed by reporters, they come off as decent citizens. Some are uniformed officers. You can imagine yourself, in dire circumstances, doing the same thing.

More here.

From The New York Times:

One of the many anecdotes about the fraught relationship between Edmund Wilson and his third wife, Mary McCarthy, dramatizes beautifully the problem of Wilson’s legacy. When Reuel, their son, was 9, he heard McCarthy, for once, praising her former husband. Reuel responded: ”Mommy, you mean my father is a great critic?” He smiled, clearly remembering her previous invectives against his father, and added: ”I always thought he was just a two-bit book reviewer.”

Edmund Wilson was part of a brilliant generation at Princeton. They were too brilliant in some cases to have as much as a first act in their careers; among the rest was F. Scott Fitzgerald, whose final books, ”The Last Tycoon” and ”The Crack-Up,” would be assembled and edited by Wilson. An early essay on Fitzgerald gives some sense of his tone, the quality of his prose and the exacting nature of his judgment. Fitzgerald, he wrote, ”has been given imagination without intellectual control of it; he has been given a desire for beauty without an aesthetic ideal; and he has been given a gift for expression without very many ideas to express.” ” ‘This Side of Paradise,’ ” Wilson wrote, ”does not commit the unpardonable sin: It does not fail to live. The whole preposterous farrago is animated with life.”

More here.

From BBC World News:

The Lancet says the time for more studies is over and doctors should be bold and honest with patients about homeopathy’s “lack of benefit”. A Swiss-UK review of 110 trials found no convincing evidence the treatment worked any better than a placebo. In 2002, American illusionist James Randi offered $1m to anyone able to prove, under observed conditions in a laboratory, that homeopathic remedies can really cure people. To date, no-one has passed the preliminary tests.

More here.

From The Guardian:

What this smart little book does is unpick some of the pathways by which various meats, fish, fruits and rice came together at particular moments in history to produce, say, a lamb pasanda or even our own particular favourite, chicken tikka masala (“curry”, it turns out, is a generic term that Indians themselves would never use). In 17th-century Goa, for instance, it was the visiting Portuguese who taught the local Indians how to make the exquisite egg and milk-based sweets that have since become part of the fabric of eating on the western seaboard. There again, 300 years later, it comes as a shock to learn that Indians of all castes were indifferent to the pleasures of tea-drinking until the beginning of the 20th century. It was only when their British rulers insisted that they try it for themselves, sweetening the experience with the promise of all the money that was to be made from this new cash crop, that the subcontinent gave itself over to the cup that cheers.

More here.

From The New York Times:

But perhaps most of all there was shame, a deep collective national disbelief that the world’s sole remaining superpower could not – or at least had not – responded faster and more forcefully to a disaster that had been among its own government’s worst-case possibilities for years. “It really makes us look very much like Bangladesh or Baghdad,” said David Herbert Donald, the retired Harvard historian of the Civil War and a native Mississippian, who said that Gen. William Tecumseh Sherman’s destructive march from Atlanta to the sea paled by comparison. “I’m 84 years old. I’ve been around a long time, but I’ve never seen anything like this.”

Around the nation, and indeed the world, the reaction to Hurricane Katrina’s devastation stretched beyond the usual political recriminations and swift second-guessing that so often follow calamities. In dozens of interviews and editorials, feelings deeper and more troubled bubbled to the surface in response to the flooding and looting that “humbled the most powerful nation on the planet,” and showed “how quickly the thin veneer of civilization can be stripped away,” as The Daily Mail of London put it. (Picture from The London Times).

More here.

The US space agency’s robotic rover Spirit has sent back a partial panoramic view from the summit of “Husband Hill” at Gusev Crater on Mars.

Spirit was still sending down data that makes up the colour 360-degree picture when Nasa held a news conference.

more from the BBC here.

From Stanley Kaufmann at TNR.

Broken Flowers. Bill Murray, as usual, presents a man who has looked upon the world and found it dubious. Going back now to visit five women he knew some twenty years earlier, one of whom may have had a son by him, he finds surprises and non-surprises. Jim Jarmusch wrote and directed intelligently. (Reviewed 9/5/05)

Junebug. A young Chicago woman, an art dealer, visits her husband’s rustic North Carolina family. She and they discover–or reveal–new areas in themselves. Flawlessly acted, Junebug was directed by Phil Morrison without sentimentality but with true feeling. (9/12/05)

more here.

Chávez’s rising profile and focus on his needy northern neighbors is no doubt getting under the skin of his nemesis President Bush, whom Chávez regularly refers to as “Mr. Danger.” The Bush administration has always been suspicious of Chávez, who is tight with Cuban leader Fidel Castro and in 2000 became the first democratically elected head of state to visit Saddam Hussein since the Gulf War. Washington’s barely concealed glee when a coup briefly deposed Chávez three years ago certainly didn’t help. After Secretary of State Condoleezza Rice fingered Chávez as a “negative force” in Latin America during her confirmation hearings, the Venezuelan retorted that “the most negative force in the world today is the government of the United States.”

more from Slate here.

From MSNBC:

Now that the storm has passed, Earth-imaging satellites are getting a better fix on the damage caused by Hurricane Katrina. The QuickBird satellite, operated by Colorado-based DigitalGlobe, got a clear shot of New Orleans on Wednesday and posted before-and-after views on its Web site. QuickBird’s “after” view, captured from a 280-mile-high (450-kilometer-high), sun-synchronous polar orbit, shows dark floodwaters over highways and even the downtown golf course, as well as the water surrounding the Louisiana Superdome. We’ve created an interactive viewer that labels the landmarks and lets you switch quickly between the before and after views.

More here.

From Harvard Magazine:

Is aging necessary? Are the wrinkles and gray hair, weakening muscles, neurodegeneration, reduced cardiovascular function, and increased risk of cancer that afflict organisms toward the end of their lives inevitable? Or are these age-related changes part of a genetic program that can be altered? Molecular biologists experimenting with organisms such as yeast, roundworms, fruit flies, and mice have found that they can dramatically extend life span by tweaking single genes. The altered organisms don’t just live longer, they age more slowly, in many cases retaining youthful characteristics even after normal individuals have died. More remarkable, the genetic manipulations that cause these changes seem to work through a common pathway across all species. This suggests that if there is a program that controls aging, it must be ancient indeed: in evolutionary terms, yeast and mammals diverged about a billion years ago.

More here.

Love him or hate him or care not a whit, there’s no question that Clement Greenberg was one of the smartest and most interesting people writing on art for a generation. As Hilton Kramer (no slouch himself) once remarked “The thing about Clem was, you didn’t have to agree with him to find him the most interesting writer around.”

The following site is a great resource for all things Clement Greenberg.

There’s an interesting comparison between good writing on art and not so good writing on art. It’s available by comparing Arthur Danto’s recent essay on Smithson with Peter Schjeldahl’s. The peices actually make some similar points. But in the end, one learns so much from Danto whereas from Schjeldahl it’s just … nothing.

Danto at The Nation:

The Whitney show succeeds, I think, in projecting a portrait of the artist as a restless demiurge whose basic genre was the monument, though none of his monuments can fit the space at the disposal of curators. The museum ought to be saluted for celebrating a figure who sought to invalidate the premises on which the idea of that institution rests. I would add that Smithson has become the beau idéal of young artists, more than Picasso, more than Duchamp the kind of figure they aspire to be–anti-institutional, in touch with the environment, hospitable to myth and ritual, alive to the poetry of the wilderness, ambitious in his desire to touch the public through a vision of monumentality that throws the world of the shopping mall and the parking lot into a moral perspective. In that respect the show tells us something about where we are. Spiral Jetty is a critique of modern life as entropy. The rest belongs to the scholars.

Schjeldahl at The New Yorker:

As a figure of freedom, temerity, and lyrical prophecy, Smithson stirs nostalgia among artists and others in the art world, which, for all its wealth and popularity, feels increasingly constricted, faltering, and prosaic. That nostalgia is like a yearning for a lost frontier, troubling the sleep of care-worn suburbanites. Smithson’s example suggests not only that anything can be art but that anyone, with proper fire in the belly, can become a great artist, even without being much good at it. This fit of romance won’t last. It will count again that the works that are on display at the Whitney are drab and tedious. But, for a while, thoughts of Smithson will continue to fuel a present, perhaps eventually fruitful, mood of burning dissatisfaction.

From the October 2001 issue of Scientific American:

“New Orleans is a disaster waiting to happen. The city lies below sea level, in a bowl bordered by levees that fend off Lake Pontchartrain to the north and the Mississippi River to the south and west. And because of a damning confluence of factors, the city is sinking further, putting it at increasing flood risk after even minor storms. The low-lying Mississippi Delta, which buffers the city from the gulf, is also rapidly disappearing. A year from now another 25 to 30 square miles of delta marsh–an area the size of Manhattan–will have vanished. An acre disappears every 24 minutes. Each loss gives a storm surge a clearer path to wash over the delta and pour into the bowl, trapping one million people inside and another million in surrounding communities. Extensive evacuation would be impossible because the surging water would cut off the few escape routes. Scientists at Louisiana State University (L.S.U.), who have modeled hundreds of possible storm tracks on advanced computers, predict that more than 100,000 people could die. The body bags wouldn’t go very far.

A direct hit is inevitable.”

(Related and of interest, Sidney Blumenthal in Der Spiegel.  Also to editorialize, if this the result of the disaster preparation that this administration has been effectively charged with in the aftermath of 9/11, then it seems to have failed big time in one of its basic responsibilities. )

(Hat tips: Linta, Roop and Beth Ann)

From Despardes:

In 1956 there were only 244 madrassas in Pakistan. Recent estimates range from 13,000 to 15,000 with an enrolment of 1.5 to two million (unpublished report by Dr Saleem Ali, Islamic Education and Conflict: Understanding the Madrassahs of Pakistan). The syllabi taught in those traditional madrassas was woefully archaic since much of it was based on assumptions that the earth was flat and the sun and moon rotated around it, while the stars were fixed lights in the seven-tier heaven. The laws and moral values taught also corresponded to a static worldview that made any notion of progress beyond the severely segregated societies of the 7th to 12th centuries impossible to grasp, much less accept. (Picture from Islam.online).

More here.

From BBC News:

The scientists say the information is a milestone in the quest to discover what sets us apart from other animals. A comparison shows chimps and humans to be almost 99% identical in the most important areas of their “life codes”. The team tells Nature magazine that future research will tease out the significance of the few differences.

The study shows that our genomes are startlingly similar. We differ by only 1.2% in terms of the genes that code for the proteins which build and maintain our bodies. This rises to about 4%, when non-coding or “junk” DNA is taken into account. The long-term goal of the project is to pinpoint the genetic changes that led to human characteristics such as complex language, walking upright on two feet, a large brain and tool use.

More here.