Christopher Avery in Harvard Magazine:

In his new book, The Chosen, Jerome Karabel ’72, Ph.D. ’77, offers a provocative account of undergraduate admissions at Harvard, Princeton, and Yale from the late 1800s to the present—a period when the “Big Three” were transformed by the addition of representative numbers of women, minorities, and others who could never have enrolled before. Such a dramatic shift warrants explanation, and two decades of original research uniquely qualify Karabel, a professor of sociology at the University of California, Berkeley, to provide it.

At heart, The Chosen is a great story. Karabel brings life to a century’s worth of faculty meetings and administrative maneuvering, providing an account that is both entertaining and authoritative. He also reveals many dirty secrets of the admissions process: primarily that the definition of “merit” was slanted in the past to ensure a sufficient number of “paying guests” for the universities to thrive financially. This will disquiet readers—particularly graduates of the Big Three—because of its clear implication that the admissions process is suspect, rather than sacrosanct.

More here.

The complete collection of maps from Carnegie’s, Deadly Arsenals: Nuclear, Biological, and Chemical Threats

Click on each map to view a larger image. Windows users should hold the cursor over the image and click on the icon appearing in the lower right-hand corner to expand the map to its full size.

The first five maps reflect the worldwide proliferation of nuclear, chemical, and biological weapons and their missile delivery systems. The country maps show the major nuclear installations, both civilian and military, in each country.

More here.  [Thanks to Laura Claridge.]

PARIS—Just weeks after the centennial of the birth of pioneering minimalist playwright Samuel Beckett, archivists analyzing papers from his Paris estate uncovered a small stack of blank paper that scholars are calling “the latest example of the late Irish-born writer’s genius.”

The 23 blank pages, which literary experts presume is a two-act play composed sometime between 1973 and 1975, are already being heralded as one of the most ambitious works by the Nobel Prize-winning author of Waiting For Godot, and a natural progression from his earlier works, including 1969’s Breath, a 30-second play with no characters, and 1972’s Not I, in which the only illuminated part of the stage is a floating mouth.

“In what was surely a conscious decision by Mr. Beckett, the white, uniform, non-ruled pages, which symbolize the starkness and emptiness of life, were left unbound, unmarked, and untouched,” said Trinity College professor of Irish literature Fintan O’Donoghue. “And, as if to further exemplify the anonymity and facelessness of 20th-century man, they were found, of all places, between other sheets of paper.”

more from The Onion here.

Sunn 0)))’s music recalls a tradition more typically associated with the cerebellum: Minimalism. In fact, Steve Reich’s 1968 essay “Music as a Gradual Process,” a seminal articulation of this objective principle applied to sound, could be cited with surprising aptness here. In it, Reich argues that the systematic reduction of the musical work will tend to render our experience of sound more material. Just as Robert Rauschenberg’s 1951 “White Paintings,” which are animated only by the play of exterior light and shadow, must be experienced as inhabiting space with the viewer, so too is sound displaced into the real world—that is, the world of the listener—in Minimalist composition. For Reich, narrowing the differential between compositional parts is key to accomplishing this transposition of the work from world unto itself to thing in the world: “Listening to extremely gradual musical process opens my ears to it.” Paradoxically, the closer the music comes to being all of a piece—be it one-note or non-note, very loud like La Monte Young’s early drone pieces or silent like John Cage’s 4’33″—the more differentiated it becomes experientially.

more from Artforum here.

Twenty years ago, Deng Xiaoping erected huge billboards throughout China that proclaimed, “Development is the Irrefutable Argument.” The way Deng’s slogan is translated today, China’s spectacular growth rates not only win the argument, they end the argument. The government speaks in a triumphalist discourse that is actually a remarkable echo of the language of nineteenth-century England, in the heyday of what historians later learned to call ‘the Industrial Revolution.’ England was enjoying tremendous industrial growth and taking over more and more of the world each year. Its mass media were united in an orgy of self-celebration. And yet its level of human suffering was alarmingly high. So much of its prosperity depended on the energy of its industrial working class, yet so much of this class lived in poverty and squalor. Victorian England was the world leader in productive power, but also in human misery. Plenty of people were aware of this mass misery. But most of them, when they thought critically, denounced the whole of modern life: they wished “to get rid of modern arts, in order to get rid of modern conflicts.” Marx was more complex: he wanted to affirm and to celebrate human progress, but also to confront its outrageous human costs. His thinking could be called a discourse of contradiction.

In our day everything seems pregnant with its contrary. Machinery, gifted with the power of shortening and fructifying human labor, we behold starving and overworking it. The new-fangled sources of wealth, by some weird spell, are turned into sources of want. The victories of art seem bought by loss of character.

There are good reasons to say that ‘everything is pregnant with its contrary’ in China today and to look for a language that can grasp and penetrate its inner contradictions. It is ironic that, for decades, a travesty of Marxism was imposed on a backward, peasant China that couldn’t possibly digest it. It is only now, as China goes through dramatic and explosive development, that Marx’s discourse of contradiction can be a powerful critical vision of its real life.

more from Marshall Berman at Dissent here.

It’s hard to overstate Gay Talese’s gold-standard reputation. A few years ago, David Halberstam called him “the most important nonfiction writer of his generation, the person whose work most influenced at least two generations of other reporters.”

The bedrock of that reputation consists of several exceptional magazine profiles from the 1960’s, in particular “Frank Sinatra Has a Cold,” published in Esquire in 1966. Helped along by one of the great modern magazine headlines, the piece became a canonical archetype of the so-called New Journalism — nonfiction conceived and written in the manner of fiction, with fully rendered scenes, extended conversations and plainly subjective depictions of mood. In 1969, Talese published “The Kingdom and the Power,” an institutional portrait of The New York Times, where he had been a reporter for nine years. That book became a best seller, certifying him as a literary pop star as well as a reporter’s reporter. Just two years after the Times book, he published another first-rate best seller, his story of a Mafia family called “Honor Thy Father.”

more from the NY Times Book Review here.

Mary Midgley’s emphasis on her early life in The Owl of Minerva is consistent with one of her most fundamental beliefs: that philosophical positions are not arrived at quite as impersonally as many philosophers would like to believe. The tendency, particularly marked among some analytical philosophers, to narrow philosophy to a technical exercise, dealing piecemeal with ever smaller issues, and its modelling itself on science and avoiding metaphysics, or even any sense of the wider context of the questions being addressed, is one she has vigorously opposed. For Midgley, reason is a tool that should serve reasonableness which itself has more disparate sources and deeper roots than many philosophers acknowledge. Even the most aseptic philosophical inquiry has a frame of reference defined at least in part by unargued intuitions and passions. It is entirely appropriate, then, that her early years figure so large in this memoir: the child is the mother of the philosopher. And what an interesting childhood she had; or at least how interesting she makes it. By the time I had reached the end of her early years, I really did want to know about her ancestors. That they occupy the second, not the first, chapter in her book is not mere eccentricity.

more from the TLS here.

From Scientific American:

For the past five years, hundreds of scientists have been using a powerful new atom smasher at Brookhaven National Laboratory on Long Island to mimic conditions that existed at the birth of the universe. Called the Relativistic Heavy Ion Collider (RHIC, pronounced “rick”), it clashes two opposing beams of gold nuclei traveling at nearly the speed of light. The resulting collisions between pairs of these atomic nuclei generate exceedingly hot, dense bursts of matter and energy to simulate what happened during the first few microseconds of the big bang. These brief “mini bangs” give physicists a ringside seat on some of the earliest moments of creation.

During those early moments, matter was an ultrahot, superdense brew of particles called quarks and gluons rushing hither and thither and crashing willy-nilly into one another. A sprinkling of electrons, photons and other light elementary particles seasoned the soup. This mixture had a temperature in the trillions of degrees, more than 100,000 times hotter than the sun’s core.

More here.

From The New York Times:

‘Absurdistan,’ by Gary Shteyngart. Why praise it first? Just quote from it — at random. Just unbutton its shirt and let it bare its chest. Like a victorious wrestler, this novel is so immodestly vigorous, so burstingly sure of its barbaric excellence, that simply by breathing, sweating and standing upright it exalts itself. “I stood there listening to my father’s killers. Oleg and Zhora were of Papa’s generation. All three had been made fatherless by the Great Patriotic War. All three had been raised by the men who had managed to avoid battle, the violent, dour, second-tier men their mothers had brought home with them out of brutal loneliness. Standing before the menfolk of my father’s generation, I could do nothing. Before their rough hands and stale cigarette-vodka smells, I could only shudder and feel, along with fright and disgust, appeasement and complicity. These miscreants were our country’s rulers. To survive in their world, one has to wear many hats — perpetrator, victim, silent bystander. I could do a little of each.”

The young writer supplying the lines is Gary Shteyngart, who moved to the United States from Russia when he was 7, while the young bereaved oligarch he’s speaking through is Misha Vainberg, who attended college here but ended up marooned back in St. Petersburg. Misha is extraordinarily fat, ambivalently Jewish, unapologetically rich and — as his homeland’s best comic heroes often are — infinitely thwarted. During his collegiate heyday, he gorged at the American buffet, slurping up rap music, psychotherapy and the sky’s-the-limit complacent optimism that we take for granted as a birthright but that Misha sees for what it is: a glorious geo-historical accident.

More here.

Donald Judd slept a lot. After spending a weekend at Chinati, the art museum that he established in Marfa, Texas, I can understand why. To view the sundry installations by Dan Flavin, John Chamberlain or, most important, Judd himself, requires a two-mile walk around the complex of buildings once known as Fort D.A. Russell. The 340 acres of land extends to a barely visible horizon of low-slung mountains, an unbroken vista but for Judd’s massive concrete containers, standing sentinel. So much space is enervating. It defies the very concept of an agenda. When asked the date, a local Marfian answers, “Does it really matter?” In Marfa, it doesn’t seem to matter — which is a congenial condition for a nap and explains the beds that Judd kept in his studios.

Equally, ambition is tiring and Judd was nothing if not ambitious, accomplishing an enormous amount before dying of cancer in 1994 at age 64. Beyond the sheer, staggering beauty of his 100 milled aluminum boxes located in two restored artillery sheds, surfaces glimmering in the magical Marfa light, it is the magnitude of his ambition that is obvious. In our age of knickknack esthetics and historical amnesia, Judd’s commitment to creating an enduring art, removing a portion of it from the hubbub of commerce and securing the circumstances of its presentation for the foreseeable future is, well, impressive.

more from artnet here.

The cities where everyone is a minority: expert voices from around the world

Introduction

The Commission for Racial Equality, in association with the Smith Institute, held a round table discussion on the rise of “plural cities” – those where no single ethnic group holds the demographic majority. This event took place on the International Day for the Elimination of Racial Discrimination, 21st March 2006, in Leicester, which is becoming one of Britain’s first plural cities. It brought together many leading experts from around the world to discuss the experiences of their cities – including Marseille, São Paulo, Los Angeles, Cape Town and Oldham, and the implications for how cities generate policy, and what it means for integration and social cohesion

more from a roundatble at The New Statesman here.

THREE YEARS OF FIGHTING in the Darfur region of Sudan have left an estimated 180,000 dead and nearly 2 million refugees. In recent weeks, both the UN and the US have turned up the volume of their demands to end the violence (which the Bush administration has publicly called genocide), but they’ve been hard pressed to turn their exhortations into action. The government in Khartoum has scuttled the UN’s plans to take control of the troubled peacekeeping operations currently being led by the African Union, and NATO recently stated publicly that a force of its own in Darfur is ”out of the question.” Meanwhile, refugee camps and humanitarian aid workers continue to be attacked, and the 7,000 African Union troops remain overstretched and ineffective.

But according to J. Cofer Black, vice chairman of the private security firm Blackwater, there is another option that ought to be on the table: an organization that could commit significant resources and expertise to bolster the African Union peacekeepers and provide emergency support to their flagging mission.

more from Boston Globe Ideas here.

From MSNBC:

Compared to the well-studied world of Homer’s Iliad and Odyssey, the civilizations that flourished in the eastern Mediterranean just before Homer’s time are still cloaked in mystery. Even the basic chronology of the region during this time has been heatedly debated. Now, a resolution has finally emerged — initiated, quite literally, by an olive branch. Scientists have discovered the remains of a single olive tree, buried alive during a massive volcanic eruption during the Late Bronze Age. A study that dates this tree, plus another study that dates a series of objects from before, during and after the eruption, now offer a new timeline for one of the earliest chapters of European civilization.

More here.

From Science:

Apply a little ultraviolet light and heat, and a gumdrop of polymer transforms itself into an artificial bug eye, biophysicists report. The advance could lead to small, inexpensive wide-angle cameras for surveillance, biomedical imaging, and other applications.

Optically speaking, it’s hard to take a broad view of things. To produce lenses with fields of view wider than 90°, lens makers must combine several individual lenses in an elaborate “fish eye” structure that is expensive and hard to miniaturize. Alternatively, they might try to capture a panoramic view by assembling many smaller “microlenses” pointing in different directions, like the elements in an insect’s compound eye. Researchers have developed microlens arrays on light-sensitive microchips. But those devices have been flat, which limits their field of view. And researchers must align the optics with the light-detecting pixels on the chip.

More here.

Tull’s lost decade seems to constitute nothing less than the missing link between Mike Kelley’s and Jim Shaw’s curdled Pop and that of the emerging Los Angeles neo-psychedelic school. Combining a lifetime’s accumulation of formal chops and unquenchable creativity with an unholy hybrid of introspective archival obsessiveness and smart-ass pop-cultural glossolalia, Tull has produced an orgy of interpenetrating bodies of work that are as superficially entertaining as they are emotionally and structurally challenging. Let’s hope it won’t be another 10 years until his next show, but you should check out “Odd Ark” just in case — if there’s one thing Tull hasn’t learned in his wanderings in the cultural desert, it’s how to dumb it down and repeat himself for the marketplace. Dude must be thick or something.?

more from the LA Weekly here.

This sense that philosophers should occupy a special and uniquely privileged position in our national conversation is absent from Britain today. The last philosopher who lived as successfully in the public as well as the academic sphere was Isaiah Berlin. While Britain has tipped into philosophical decline, so America has risen triumphantly. John Rawls, Thomas Nagel, Charles Taylor, Richard Rorty, Hilary Putnam, Paul Boghossian, Martha Nussbaum. Their reach extends significantly beyond the academy.

These Americans now embody Kant’s hope for independent-minded thinking about society in its various states. It seems there is little prospect that such ambition will prosper in modern British faculties of philosophy. Boghossian prefaces his recent study of how we think and whether “we have fundamentally misconceived the principles by which society ought to be organised” (Fear of Knowledge, 2006), by noting that his book is intended not only for philosophers but also for “anyone who values serious argument”.

But in our contemporary escape from serious ideas – from the very notion of seriousness itself – our flight into the arms of irony and satire, while wonderfully bracing, leaves us all the poorer. Short-term and ephemeral gratification, perhaps. But longer-term moral stagnation and depravity.

more from The Guardian here.

From MSNBC:

Noam Chomsky has endured many attempts to disprove his widely respected theories of language, but never have any of them come from a 3-ounce bird. The European starling, a tiny virtuoso, has the ability to learn and recognize a feature of grammar that has long been thought to be unique to human languages, researchers report in a new study.

Chomsky isn’t buying it, however.

A common characteristic of human grammar is inserting words and clauses within a sentence, without limit. For example, “Oedipus ruled Thebes” can become “Oedipus, who killed his father, ruled Thebes” or “Oedipus, who killed his father, whom he met on the road from Delphi, ruled Thebes,” ad infinitum. More simply stated, you can insert as many brackets as you want within a sentence as long as there are as many brackets on the right as there are on the left.

More here.

From The New York Times:

She goes by the name Bruna, the Little Surfer Girl, and gives new meaning to the phrase “kiss and tell.” First in a blog that quickly became the country’s most popular and now in a best-selling memoir, she has titillated Brazilians and become a national celebrity with her graphic, day-by-day accounts of life as a call girl here.

But it is not just her canny use of the Internet that has made Bruna, whose real name is Raquel Pacheco, a cultural phenomenon. By going public with her exploits, she has also upended convention and set off a vigorous debate about sexual values and practices, revealing a country that is not always as uninhibited as the world often assumes. Interviewed at the office of her publisher here, Ms. Pacheco, 21, said the blog that became her vehicle to notoriety emerged almost by accident. But once it started, she was quick to spot its commercial potential and its ability to transform her from just another program girl, as high-class prostitutes are called in Brazil, into an entrepreneur of the erotic.

More here.

On Saturday, the town of Skarsterlan began fining Hotels.nl 1,000 euros a day for putting branded blankets on sheep. Advertising on livestock violates the town’s ban on advertising along the highways.

“My first reaction was a smile; it is very creative,” said Bert Kuiper, the town’s mayor. “My second reaction is that we have to stop this. If we start with sheep, then next it’s the cows and horses.”

Hotels.nl said that it would pay the fines, but that it planned to fight the ban in court. Since the advertising strategy started, sales by Hotels.nl have been up 15 percent, and so have visits to the company’s Web site, said Miechel Nagel, chief executive of Hotels.nl, a four-year-old company based in Groningen. He plans to increase the number of sheep sporting the company’s logo and is searching for locations where there are frequent traffic jams.

more from the NY Times here.

Tara Donovan’s art is phenomenological in the sense that her “site responsive” sculptures reveal the purely subjective aspects of consciousness. The vacillation between illusion and material reality prevalent in her work activates perceptual shifts. So rather than say Donovan’s “Untitled (Plastic Cups),” (2006) doesn’t work because the raw material (plastic cups) isn’t completely transformed or because we have seen this sort of thing before, we should focus on the dissociation that takes place. Tara Donovan’s work creates a dramatic tension between what cognitive neuroscientist Uri Hasson calls “activation induced by local object features and activation induced by holistic, grouping processes that involve the entire object or large parts of it.” Donovan would have prevented viewers from seeing her artworks close up if she wanted to conceal the individual units that comprise the whole. The work currently on display at PaceWildenstein is a complex version of the vase-face illusion. It contains an inherent contradiction in the sense that its physicality immediately inspires neuronal activation that is not dependent upon the physical properties of the visual stimulus. It works because both ends of the spectrum, the material reality of the stacked cups and the illusion of a terrestial or extraterrestrial landscape, absorb our attention.

more from artcritical here.