Jill Lepore on the origins of American democracy in the New Yorker.

Readers may weary at the length of Wilentz’s book, but, as a model for integrating social and political history, it’s hard to dispute. That it will be disputed is, however, certain, if only because Wilentz has been such a vigorous critic of his colleagues. He has had little use for historians who defend Federalists like Noah Webster. To those who celebrate Federalists for their opposition to slavery, Wilentz counters, “Rarely has any group of Americans done so little to deserve such praise.” In his New Republic reviews, Wilentz has been particularly indignant about historians who place Federalists in a better light than Republicans or who dismiss Jefferson’s entire career because he owned slaves (including some who were almost certainly his own children). David McCullough’s “John Adams” was, in his view, “popular history as passive nostalgic spectacle.” Garry Wills’s book about Jefferson’s election, “Negro President,” he deemed “misadventurous.” In another essay, Wilentz concluded, “Were he alive today, Jefferson would probably regard modern American historians as a rascally bunch.”

But one thing that Federalists understood—for all their failings, for all their unmitigated snobbery—was the fragility of democracy. I’d be willing to consider you an angel, Webster told Jefferson, if you could show me a democracy that isn’t corrupt, or if you could protect the United States from “the instruments with which vicious and unqualified men destroy the freedom of elections, and exalt themselves into power, trampling first on the great and good, and afterwards on the very people to whom they owe their elevation.” Webster may have been a prig, but he wasn’t a duffer.

Sandwiched between ‘70s agitators like Ant Farm and more recent groups like the Yes Men, Negativland has been going strong for twenty-five years, an anniversary commemorated by this retrospective of their work. Among their best-known culture jamming exploits is their album U2, which includes liberal sampling from U2’s album Joshua Tree (prompting a landmark 1991 intellectual property case in which U2’s record label, Island Records, sued Negativland and SST).

more from Artforum here.

From The New York Times:

There is physics. And then there is physics with music.

And so, when a new opera about the atomic bomb, of all things, opened to acclaim this month in San Francisco, I traveled across the bay from a conference in Berkeley. It has been 60 years since the atomic bomb emerged from its cradle at the Trinity test site in Alamogordo, N.M., to punctuate the end of World War II with a blinding flash and the cries of the burned in Hiroshima and Nagasaki. I am old enough to have emerged from that same cradle, fussing and complaining, old enough to have seen the Beatles and to have watched and felt the desert shake one cold loud morning in 1968 as one of those beasts went off and a radioactive dust ball drifted off toward Canada.

As an ex-physics major, sci-fi addict, science writer and lover of apocalypse, I long ago concluded that there was not much new to say about the atomic bomb. But I was wrong.

More here.

Joost Smiers and Marieke van Schijndel in the International Herald Tribune:

Copyright was once a means to guarantee artists a decent income. Aside from the question as to whether it ever actually functioned as such – most artists never made a penny from the copyright system – we have to admit that copyright serves an altogether different purpose in the contemporary world. It now is the tool that conglomerates in the music, publishing, imaging and movie industries use to control their markets.

These industries decide whether the materials they have laid their hands on may be used by others – and, if they allow it, under what conditions and for what price. European and American legislation extends them that privilege for a window of no less than 70 years after the passing of the original author. The consequences? The privatization of an ever-increasing share of our cultural expressions, because this is precisely what copyright does. Our democratic right to freedom of cultural and artistic exchange is slowly but surely being taken away from us.

More here.

Divya Abhat, Shauna Dineen, Tamsyn Jones, Jim Motavalli, Rebecca Sanborn, and Kate Slomkowski in Emagazine.com:

We take big cities for granted today, but they are a relatively recent phenomenon. Most of human history concerns rural people making a living from the land. But the world is rapidly urbanizing, and it’s not at all clear that our planet has the resources to cope with this relentless trend. And, unfortunately, most of the growth is occurring in urban centers ill-equipped for the pace of change. You’ve heard of the “birth dearth”? It’s bypassing Dhaka, Mumbai, Mexico City and Lagos, cities that are adding population as many of their western counterparts contract.

The world’s first cities grew up in what is now Iraq, on the plains of Mesopotamia near the banks of the Tigris and Euphrates Rivers. The first city in the world to have more than one million people was Rome at the height of its Empire in 5 A.D. At that time, world population was only 170 million. But Rome was something new in the world. It had developed its own sophisticated sanitation and traffic management systems, as well as aqueducts, multi-story low-income housing and even suburbs, but after it fell in 410 A.D. it would be 17 centuries before any metropolitan area had that many people.

The first large city in the modern era was Beijing, which surpassed one million population around 1800, followed soon after by New York and London. But at that time city life was the exception; only three percent of the world’s population lived in urban areas in 1800.

More here.

Malcom Le Grice reviews Isaac Julien’s new video installation, Fantome Creol, at the Centre Pompidou in Paris.

Isaac Julien’s video installation Fantôme Créol (Creole Phantom, 2005) was shown on four very large adjacent screens: two on either side of the gallery; Baltimore (2003) had three equally large screens, but placed in an arc so that they could be viewed as a whole. The visual quality was fine, the carpeted gallery provided excellent acoustics, and comfortable seating encouraged spectators to watch the full cycle of each work – sadly a rare experience with film and video installations.

One quality underlying Julien’s work is his exceptional command of the aesthetics of cinema. His images are often sumptuous, and the film construction shows a great control of visual rhythm. These qualities, evident in his single-screen films such as Frantz Fanon: Black Skin, White Mask (1996), take on another, spectacular dimension when two or more screens are edited to harmonize or counterpoint image content, colour and movement.

Granta makes available Isaiah Berlin’s thoughts on the revolutions of ’89. Kind of interesting to read now.

You ask me for a response to the events in Europe. I have nothing new to say: my reactions are similar to those of virtually everyone I know, or know of—astonishment, exhilaration, happiness. When men and women imprisoned for a long time by oppressive and brutal regimes are able to break free, at any rate from some of their chains, and after many years know even the beginnings of genuine freedom, how can anyone with the smallest spark of human feeling not be profoundly moved? One can only add, as Madame Bonaparte said when congratulated on the historically unique distinction of being mother to an emperor, three kings and a queen, ‘Oui, pourvu que ça dure.’ If only we could be sure that there will not be a relapse, particularly in the Soviet Union, as some observers fear.

From Art Papers:

Call Jillian Mcdonald a relations artist. Relationships are her medium, fleeting encounters her material. Mcdonald’s works often exist on the margins of art institutions and activate public space in disquieting ways. Yet, they are all about intimacy.

If her performance projects—in Mile Share, 2004, she invited strangers to run a mile with her; in Advice Lounge, 2003, she provided free, non-professional advice to passersby; for Houseplant, 2002-2003, she offered to deliver a houseplant to strangers’ residences; and in Shampoo, 2001, she posted a message in a local newspaper, inviting strangers to come for a free shampoo—seem light years away from her media works, the focus on relations provides an interpretive continuum.

For Me and Billy Bob, Mcdonald inserted carefully constructed footage of her image into scenes from Thornton’s movies, thus creating a compendium of flirtation—a wink, a light touch, a brief kiss, and a heart break.

There is a refreshing eclecticism about this year’s Turner prize exhibition at Tate Britain. The four short-listed artists represent a diverse range of practices: there is sculpture, video, conceptual work, and even some traditional painting. This is a comforting rather than a confrontational show. Stephen Deuchar, director of Tate Britain, hinted as much on Monday when he described how contemporary art had become “less scary” over the past few years, due in no small part to the Turner’s persistent demystification of recondite art forms. But how to find the balance between intimidating and just plain timid?

more from the Financial Times here.

From The Washington Post:

If you laid all the economists in the world end to end, the old joke goes, you would never reach a conclusion. So it’s all the more remarkable that it is as a practitioner of the “dismal science” that Amartya Sen won the Nobel Prize in 1998. Sen is a man of conclusions; he is also brilliant at marshalling, with both extensive research and empirical evidence, the arguments that justify his conclusions. The Argumentative Indian — a collection of 16 essays, many reworked and expanded from lectures and previously published articles — is an intellectual tour de force from an economist who can lay equal claim to the designations of sociologist, historian, political analyst and moral philosopher. It is a magisterial work, except that the adjective is not one of which Sen would approve.

That is because Sen uses it, along with “exoticist” and “curatorial,” to describe the three perspectives from which the West has tended to view India (each of which he dissects and discredits with precision and finesse). He is particularly critical of the Western overemphasis on India’s religiosity at the expense of any recognition of the country’s equally impressive rationalist, scientific, mathematical and secular heritage, fields treated by Orientalists as “Western spheres of success.”

More here.

From BBC:

The Massachusetts-based Advanced Cell Technology removed embryonic stem cells from mice embryos with no apparent damage, the journal Nature said. Scientists believe it would sidestep some of the ethical objections to stem cell research if repeated in humans. But campaigners said they still had concerns and urged scientists to concentrate on other areas. Stem cells are “master” cells that can become many kinds of tissue. Those harvested from early-stage human embryos are thought to hold the most potential for research, as they have the ability to become almost any kind of adult cell in the body.

More here.

Victor Hugo: Mysterious Ruin

Hatching from a nameless gleam of light I see
Monstrous flowers and frightening roses
I feel that out of duty I write all these things
That seem, on the lurid, trembling parchment,
To issue sinisterly from the shadow of my hand.
Is it by chance, great senseless breath
Of the Prophets, that you perturb my thoughts?
So where am I being drawn in this nocturnal azure?
Is it sky I see? Am I in command?
Darkness, am I fleeing? Or am I in pursuit?
Everything gives way. At times I do not know if I am
The proud horseman or the fierce horse;
I have the scepter in my hand and the bit in my mouth.
Open up and let me pass, abysses, blue gulf,
Black gulf! Be silent, thunder! God, where are you leading me?
I am the will, but I am the delirium.
Oh, flight into the infinite! Vainly I sometimes say,
Like Jesus calling out “Lamma Sabacthani,”
Is the way still long? Is it finished,
Lord? Will you soon let me sleep?
The Spirit does what it will. I feel the gusting breath
That Elisha felt, that lifted him;
And in the night I hear someone commanding me to go!

VICTOR HUGO

From ‘Le bien germe parfois…’ (Good Sometimes Germinates…),
from the collection Toute la lyre, first published 1888.

Dick Morris in The Guardian:

On 20 January 2009, at precisely noon, the world will witness the inauguration of the 44th President of the United States. As the chief justice administers the oath of office on the flag-draped podium in front of the US Capitol, the first woman President, Hillary Rodham Clinton, will be sworn into office. By her side, smiling broadly and holding the family Bible, will be her chief strategist, husband, and co-President, William Jefferson Clinton.

If the thought of another Clinton presidency excites you, then the future indeed looks bright. Because, as of this moment, there is no doubt that Hillary Clinton is on a virtually uncontested trajectory to win the Democratic nomination and, very likely, the 2008 election. She has no serious opposition in her party. The order of presidential succession from 1992 through 2008, in other words, may well become Bush, Clinton, Bush, Clinton. But her victory is not inevitable. There is one, and only one, figure in America who can stop Hillary Clinton: Secretary of State Condoleezza ‘Condi’ Rice. Among all of the possible Republican candidates for President, Condi alone could win the nomination, defeat Hillary and derail a third Clinton administration.

More here.

From The National Geographic:

The study, which is reported this week in the journal Science, is the first time that a detailed map has been created to match patents to specific physical locations on the human genome. Researchers can patent genes because they are potentially valuable research tools, useful in diagnostic tests or to discover and produce new drugs. “It might come as a surprise to many people that in the U.S. patent system human DNA is treated like other natural chemical products,” said Fiona Murray, a b usiness and science professor at the Massachusetts Institute of Technology in Cambridge, and a co-author of the study. Gene patents were central to the biotech boom of the 1980s and 1990s. The earliest gene patents were obtained around 1978 on the gene for human growth hormone. The new study reveals that more than 4,000 genes, or 20 percent of the almost 24,000 human genes, have been claimed in U.S. patents. Of the patented genes, about 63 percent are assigned to private firms and 28 percent are assigned to universities. The top patent assignee is Incyte, a Palo Alto, California-based drug company whose patents cover 2,000 human genes.

More here.

From The New York Times:

Fascination with the end of days is seemingly everywhere, in popular television ministries (like Pat Robertson’s), on best-seller lists (the “Left Behind” series) and even on bumper stickers (“In case of rapture, this car will be unmanned”).

What could be behind this fascination? Many church leaders and theologians, including evangelicals, give little effort to trying to interpret natural disasters and other events that might portend the end of history. The preoccupation these days stems mainly from the outsized influence of a specific, literalistic approach to biblical prophecy, called dispensationalism, which only came to occupy a dominant place in American evangelicalism relatively recently.

“Dispensationalists have never had the kind of public exposure and the kind of political power that they have now,” Mr. Weber said. As a whole, evangelical Christians are united in their belief that Jesus will come back in human form at some point in history. Where they, as well as members of other Christian groups, have differed is precisely how this will occur, depending on how each interprets a single verse in the 20th chapter of the Book of Revelation and its allusion to a 1,000-year reign by Christ.

More here.

  From News.com:

A panel of experts convened by the National Academies, the nation’s leading science advisory group, called yesterday for an urgent and wide-ranging effort to strengthen scientific competitiveness.

The 20-member panel, reporting at the request of a bipartisan group in Congress, said that without such an effort the United States “could soon lose its privileged position.” It cited many examples of emerging scientific and industrial power abroad and listed 20 steps the United States should take to maintain its global lead.

“Decisive action is needed now,” the report warned, adding that the nation’s old advantages “are eroding at a time when many other nations are gathering strength.”

More here.

Laura Helmuth and Art Wolfe in Smithsonian Magazine:

The wildlife photographs that make us ooh and aah usually depict dramatic action. A lion digs its teeth into a zebra’s neck, buffaloes stampede through a cloud of dust, a pair of cranes strut out a mating dance—we like our animals highlighted at their most furious, frightened or amorous.

That’s rarely how they appear in nature, of course. Most of the time, they’re just trying to blend in. Photographer Art Wolfe, 53, has more than 60 books and plenty of wildlife action shots to his name, but in a new book, Vanishing Act, he defies conventions to show what he calls “animals’ incredible ability to vanish in plain sight.” In these photographs (taken in Kenya, South Africa, Panama, Malaysia and 21 other nations), the animals typically appear in the corner of the frame rather than the center, and some are partly obscured by plants. He further helps the subjects get lost by making both the foreground and background sharp. “Basically, I’m teasing the audience,” he says.

Ever since people thousands of years ago noted the uncanny trickery of animal camouflage, nature watchers have taken pains to understand it. Some animals’ color matches their favored habitat: plovers that feed in wet sand and muck have darker-brown backs than plover species that spend their time in dry, lighter-colored sand dunes. Some animals coordinate their look with the seasons, shedding dark fur or molting dark feathers once the snow flies. Certain sea creatures tint their skin with pigments from the corals they’ve eaten to take on the color of their home reef.

More here.

Last night I saw the brilliant ballet Raise the Red Lantern at the Brooklyn Academy of Music (thanks Ga). The production was spectacular and so luscious that it made me feel royal just to be able to watch it. Here’s Loren Noveck in nytheater.com:

The piece’s strength is in its overall visual sense—striking tableaux, gorgeous costumes (by Jerome Kaplan) and sets (by Zeng Li), bold use of color. Moment after moment makes an immediate and vivid impression: In the prologue, the second concubine, dressed like a schoolgirl, is forced into an elaborate palanquin, where she remains for much of the first act, emerging in sophisticated red robes only for her wedding. The majority of the wedding night is played behind screens, so that the second concubine and her master appear as silhouettes, his shadow towering over hers; as she attempts to evade his sexual advance, she continually rips through panels of the screen. The execution at the end is symbolized by a stylized procession of soldiers, each smacking a white screen with a club and leaving a blood-red streak—over and over, until all three bodies are motionless in a heap at center stage, and then are covered by a shimmering snowfall as the curtain falls.

More here.

Russell Seitz in the Wall Street Journal:

The exaggerated verticality of northern Pakistan makes it scientifically transparent but politically opaque, with borders hard to define and harder to guard. The chaos in the quake’s aftermath has put the field in motion for fugitives of all stripes. Al Qaeda cadres and Islamist Kashmiri separatists can readily lose themselves among the flux of refugees in a region famed for discreet hospitality. It cannot have escaped Osama Bin Laden’s attention that in the 19th century the Aga Khan spent tranquil years in Hunza while internecine war made him a hunted man elsewhere in the Islamic world. Today, the Raj has evaporated in India, but in Pakistan’s Northern Areas some local notables’ business cards still read “Head of State.” Political parties–some religious, some ethnic–have proliferated in the Punjab and the parts of southern Pakistan that share an Urdu culture with India; but in the North, men owe their first allegiance to where they were born, not to where politicians in Islamabad want borders to be.

The region’s isolation in the months to come could erode Pakistan’s often-resented efforts to integrate the linguistically and ethnically distinct populations of areas like Baltistan, a “Little Tibet” where mountains five miles high enforce local autonomy–and where the central government’s authority fades out of sight of the now-obliterated roads built to enforce it. The temblor’s timing is itself disastrous, for the north helps feed Pakistan, and harvests have been isolated from the urban markets by the wholesale destruction of infrastructure. Far away, in Karachi and Quetta, the political impact is being felt, as food prices soar despite the imposition of price controls.

More here.

From The New York Times:

Amy Tan is among our great storytellers. In each of her previous novels, she has seduced readers with the intimate magic of her tale. In “The Joy Luck Club” and “The Bonesetter’s Daughter,” she enthralled us with the painful complexity of human relationships, especially between mothers and daughters. Obscure parts of history became as immediate as the reader’s own experience; she made us breathe the air of other times and places.

Her newest novel, “Saving Fish From Drowning,” half spoof and half fairy tale, is narrated by Bibi Chen, a San Francisco socialite and art dealer who was supposed to lead a group of high-powered friends on a trip down the Burma Road, starting in Lijiang in China and continuing across the border into Myanmar, appreciating cultural sites and natural beauty along the way. Bibi Chen has died under mysterious circumstances, but the group goes off on the trip anyway, and Bibi goes along as a spirit, invisible to the travelers, only sporadically able to influence what is going on, but very much involved with – and frequently rather annoyed by – her friends and their choices. A quirky narrator, alternately omniscient and helpless, she is enthusiastic, colorful and spirited, but also self-important, snobbish and didactic.

More here.