Diane Ackerman in Orion:

AT DAWN, the world rises out of darkness, slowly, sense-grain by grain, as if from sleep. Life becomes visible once again. “When it is dark, it seems to me as if I were dying, and I can’t think anymore,” Claude Monet once lamented. “More light!” Goethe begged from his deathbed. Dawn is the wellspring of more light, the origin of our first to last days as we roll in space, over 6.684 billion of us in one global petri dish, shot through with sunlight, in our cells, in our minds, in our myriad metaphors of rebirth, in all the extensions to our senses that we create to enlighten our days and navigate our nights.

Thanks to electricity, night doesn’t last as long now, nor is it as dark as it used to be, so it’s hard to imagine the terror of our ancestors waiting for daybreak. On starless nights, one can feel like a loose array of limbs and purpose, and seem smaller, limited to what one can touch. In the dark, it’s hard to tell friend from foe. Night-roaming predators may stalk us. Reminded of all our delectable frailties, we become vulnerable as prey. What courage it must have taken our ancestors to lie down in darkness and become helpless, invisible, and delusional for eight hours. Graceful animals stole through the forest shadows by night, but few people were awake to see them burst forth, in twilight or moonlight, forbidding, distorted, maybe even ghoulish or magical. Small wonder we personalized the night with demons. Eventually, people were willing to sacrifice anything — wealth, power, even children — to ransom the sun, immense with life, a one-eyed god who fed their crops, led their travels, chased the demons from their dark, rekindled their lives.

More here.

Suzi Feay at The Guardian:

In December 1818, the poet Shelley, with his wife Mary and stepsister-in‑law Claire Clairmont, climbed Vesuvius. Starting from the village of Resina (modern Ercolano), they stopped off at the hermitage of San Salvador where an “old hermit” offered refreshments. In a letter to Thomas Love Peacock, Shelley described the ascent to the cone, whose “difficulty has been much exaggerated”. On the summit he surveyed with awe “the most horrible chaos that can be imagined … ghastly chasms … fountains of liquid fire”. The passionate poet confronting the essence of the sublime seems the acme of Romanticism.

John Brewer’s entertaining social history paints a rather different picture. By the early 19th century the climb to the summit was more well-organised tourist experience than daring psychic journey. True, Vesuvius drew admirers from all over Europe, and even the Americas, as a crucible for both science and art. Friendships and professional partnerships were forged in its shadow, reputations won and lost, discoveries made and debated. Less impressive than Etna, but much more accessible, it inspired paintings, poems and novels through the Romantic era and beyond.

more here.

Alexander Nazaryan in The New York Times:

Natural World

1.

The earth is almost round. The seas
are curved and hug the earth, both
ends are crowned with ice.

The great Blue Whale swims near
this ice, his heart is warm
and weighs two thousand pounds,
his tongue weighs twice as much;
he weighs one hundred fifty tons.

There are so few of him left
he often can’t find a mate;
he drags his six-foot sex
through icy waters,
flukes spread crashing.
His brain is large enough
for a man to sleep in.

2.

On Hawk Mountain in Pennsylvania
thousands upon thousands
upon thousands of hawks in migration
have been slaughtered for pleasure.
Drawn north or south in Spring and Fall:
Merlin and Kestel, Peregrine, Gyrfalcon,
Marsh Hawk, Red-tailed, Sharp-tailed,
Sharp-shinned, Swainson’s Hawk,
Golden Eagle and Osprey
slaughtered for pleasure.

by Jim Harrison
from Selected and New Poems
Delacorte Press, 1982

Michele Gazzola in The Guardian:

The emergence of English as the predominant (though not exclusive) international language is seen by many as a positive phenomenon with several practical advantages and no downside. However, it also raises problems that are slowly beginning to be understood and studied.

The most important challenge is that of fairness or “linguistic justice”. A common language is a bit like a telephone network: the more people know a language, the more useful it becomes to communicate. The question of fairness arises because individuals face very different costs to access the network and are on an unequal footing when using it. Those who learn English as a second language incur learning costs, while native speakers can communicate with all network members without incurring such costs. It’s like getting the latest smartphone model and sim card with unlimited data for free.

François Grin, of the University of Geneva, estimates that western European countries spend between 5% and 15% of their education budget on foreign language teaching. In the EU, most of these resources go to the teaching of a single language, English.

More here.

Peter Frankopan, Marie-Louise Nosch, and Feng Zhao in Aeon:

Some say that history begins with writing; we say that history begins with clothing. In the beginning, there was clothing made from skins that early humans removed from animals, processed, and then tailored to fit the human body; this technique is still used in the Arctic. Next came textiles. The first weavers would weave textiles in the shape of animal hides or raise the nap of the fabric’s surface to mimic the appearance of fur, making the fabric warmer and more comfortable.

The shift from skin clothing to textiles is recorded in our earliest literature, such as in the Babylonian Epic of Gilgamesh, where Enkidu, a wild man living on the Mesopotamian steppe, is transformed into a civilised being by the priestess Shamhat through sex, food and clothing. Judaism, Christianity and Islam all begin their accounts of their origins with a dressing scene. A naked Adam and Eve, eating from the forbidden tree, must flee the Garden of Eden. They clothe themselves and undertake a new way of life based on agriculture and animal husbandry. The earliest textile imprints in clay are some 30,000 years old, much older than agriculture, pottery or metallurgy.

More here.

Mark Dunbar in The Hedgehog Review:

This was during the Long 2010s (2009-2022), a decade during which there occurred more mass protests than any decade in history. The protests were against the usual suspects: capitalism, racism, imperialism, greed, corruption. Two new books, Vincent Bevins’s If We Burn: The Mass Protest Decade and the Missing Revolution and The Populist Moment: The Left After the Great Recession by Arthur Borriello and Anton Jäger, are about these protests and why they seemed to summon more of what they protested against—more greed, more racism, more corruption. They take different approaches. The Populist Moment is an academic investigation into the electoral failures of left-wing candidates in Europe and the United States (Bernie Sanders, Jeremy Corbyn, Jean-Luc Melenchon, Greece’s Syriza party), while If We Burn is a journalistic account of street protests in the Third World (Brazil, Indonesia, Chile) as well as Turkey and Ukraine.

While the electoral and protest approaches are different, they yielded the same result. The protests and protest candidates failed because they lacked organizational structures and concrete policies. Protestors couldn’t make demands because they shunned the formal structures of decision-making that could have led to change; protest candidates couldn’t advance concrete policies because they had no confidence those policies would be electorally sustainable. In other words, where there was a will there was no way, and where there was a way there was no will.

More here.

Boyce Upholt at Noema Magazine:

From a certain point of view, the extraordinary abundance of chickens might be seen as a positive development: Here is a source of protein that is cheaply produced, transportable, happily consumed by a huge number of people across the world. And thanks in part to Peterson’s efforts at improving feed conversion efficiency, chicken has a much slimmer carbon impact than beef, which contributes more than 9% of global emissions.

But the rise of poultry, and of poultry science, has not been great for the chickens themselves. They are now less functional animals than meat-growing machines. So much of a chicken’s energy gets devoted to growing as big as possible as fast as possible that the parts less useful to us humans — lungs and hearts, say — are neglected and wither. Due to underdeveloped immune systems, the birds are dosed with antibiotics. Many full-grown broilers are unable to stand under their weight. Activists and critics have called them “prisoners in their own bodies.”

more here.

Isabel Jacobs at Aeon Magazine:

Shortly after Rachel Bespaloff’s suicide in 1949, her friend Jean Wahl published fragments from her final unfinished project. ‘The Instant and Freedom’ condensed themes that occupied the Ukrainian-French philosopher throughout her life: music, rhythm, corporeality, movement and time. One of Bespaloff’s key ideas, ‘the instant’, is less a fragment of duration than a life-changing event, a moment of embodied metamorphosis. In the midst of a noisy world, torn between transience and eternity, the human being listens to the sound of history. Had she completed and published it, ‘The Instant and Freedom’ might have become the masterpiece of an important early existentialist thinker. Instead, her name is hardly mentioned today.

Yet Bespaloff was a brilliant and original thinker, among the first wave of existentialists in France. Albert Camus, Jean-Paul Sartre and Gabriel Marcel all admired her.

more here.

Laura Zornosa in Time:

Art is the linchpin of Good Grief, a warm dramedy set in the heart of winter, out in theaters on Dec. 29 before coming to Netflix on Jan. 5. It’s a film that feels like snowfall: a gradual accumulation of a blanket of muted comfort. Dan Levy, who wrote, directed, and stars in the film, plays Marc, who is guided through grief by his best friends, Sophie (Ruth Negga) and Thomas (Himesh Patel) in the wake of his husband Oliver’s (Luke Evans) death. An artist who used to paint, Marc finds his way back to the canvas as he heals. The Marc we meet at the beginning of Good Grief is diminished—he stopped painting after his mom’s death, finding it too painful. Before Oliver died, Marc still made art, illustrating his husband’s books. But he shrank himself to magnify his husband. Now, he’s lost his partner. The people around him encourage him to pick up the paintbrush again.

We learn over the course of the film that Marc and Oliver’s marriage was far from perfect; Marc holds his complex emotions about Oliver’s death at arm’s length, watching them circle the drain, but never quite emptying the bath water. First Thomas, and then a lover, Theo (Arnaud Valois), nudge him toward art to help him heal. “If you have the ability to write or to paint, sometimes that’s all you can do,” Levy says in an interview. “It might not look like the sobbing, fall-down-the-wall, on-the-floor hysteria that we’ve come to equate with grief or with loss. And that’s OK.”

More here.

Jason Dorrier in Singularity Hub:

Wearing an electrode-studded cap bristling with wires, a young man silently reads a sentence in his head. Moments later, a Siri-like voice breaks in, attempting to translate his thoughts into text, “Yes, I’d like a bowl of chicken soup, please.” It’s the latest example of computers translating a person’s thoughts into words and sentences.

Previously, researchers have used implants surgically placed in the brain or bulky, expensive machines to translate brain activity into text. The new approach, presented at this week’s NeurIPS conference by researchers from the University of Technology Sydney, is impressive for its use of a non-invasive EEG cap and the potential to generalize beyond one or two people. The team built an AI model called DeWave that’s trained on brain activity and language and linked it up to a large language model—the technology behind ChatGPT—to help convert brain activity into words. In a preprint posted on arXiv, the model beat previous top marks for EEG thought-to-text translation with an accuracy of roughly 40 percent. Chin-Teng Lin, corresponding author on the paper, told MSN they’ve more recently upped the accuracy to 60 percent. The results are still being peer-reviewed.

More here.

Meanwhile

It waits. While I am walking through the pine trees
along the river, it is waiting. It has waited a long time.
In southern France, in Belgium, and even Alabama.
Now it waits in New England while I say grace over
almost everything: for a possum dead on someone’s lawn,
the sing light on a levee while Northampton sleeps,
and because the lanes between houses in Greek hamlets
are exactly the width of a donkey loaded on each side
with barley. Loneliness is the mother’s milk of America.
The heart is a foreign country whose language none
of us is good at. Winter lingers on in the woods,
but already it looks discarded as the birds return
and sing carelessly; as though there never was the power
or size of December. For nine years in me it has waited.
My life is pleasant, as usual. My body is a blessing
and my spirit clear. But the waiting does not let up.

by Jack Gilbert

Galen Strawson in The Guardian:

Why is there something rather than nothing? It’s meant to be the great unanswerable question. It’s certainly a poser. It would have been simpler if there’d been nothing: there wouldn’t be anything to explain.

Some people think that if we knew more, we’d see that there couldn’t have been nothing. That wouldn’t surprise me. Others go further: they think we’d see that there couldn’t have been anything other than just what there is: this very universe, containing just the kind of stuff and laws of nature it does contain. That wouldn’t surprise me either, nor – I suspect – Einstein: “What really interests me,” he said, “is whether God had any choice in the creation of the world.” (Einstein’s God is a metaphorical device: “The word God is for me nothing more than the expression and product of human weaknesses.”)

Most people who ponder these things take a different view. They think the universe could in fact have been different. They think it’s puzzling that it turned out the way it did, with creatures like us in it. They are tempted by the idea that the universe has some point, some goal or meaning. In Why?, Philip Goff, professor of philosophy at Durham, argues for “cosmic purpose, the idea that the universe is directed towards certain goals, such as the emergence of life” and the existence of value.

I’m not convinced, but I’m impressed. Why? is direct, clear, open, acute, honest, companionable. It manages to stay down to earth even in its most abstract passages. I’m tempted to say, by way of praise, that it’s Liverpudlian, like its author.

More here.

Michael Marshall in New Scientist:

For almost all of human existence, our species has been roaming the planet, living in small groups, hunting and gathering, moving to new areas when the climate was favourable, retreating when it turned nasty. For hundreds of thousands of years, our ancestors used fire to cook and warm themselves. They made tools, shelters, clothing and jewellery – although their possessions were limited to what they could carry. They occasionally came across other hominins, like Neanderthals, and sometimes had sex with them. Across vast swathes of time, history played out, unrecorded.

Then, about 10,000 years ago, everything began to change.

In a few places, people started growing crops. They spent more time in the same spot. They built villages and towns. Various unsung geniuses invented writing, money, the wheel and gunpowder. Within just a few thousand years – the blink of an eye in evolutionary time – cities, empires and factories mushroomed all over the world. Today, Earth is surrounded by orbiting satellites and criss-crossed by internet cables. Nothing else like this has ever happened.

Archaeologists and anthropologists have sought to explain why this rapid and extraordinary transformation occurred.

More here.

Algis Valiunas in The New Atlantis:

Doctor Kay Redfield Jamison, a clinical psychologist, chaired professor of psychiatry at Johns Hopkins University, honorary professor of English at the University of St. Andrews, author of now seven books for the general reader on psychiatric subjects, co-author of the standard textbook on manic depression, and MacArthur award recipient, is the most important writer we have on severe mental illness. For the past thirty years she has charted the vagaries of sick minds and agonized souls, with her focus on manic-depressive illness — still her preferred name for what is now called “bipolar disorder.” Though the older term has fallen out of fashion, she finds it both more precise and more evocative than the one currently favored, which could apply to a car battery on the fritz or a geopolitical kerfuffle between rival superpowers. The more anodyne term for this frightful disease is believed to spare sufferers and their families the stigma of the depressed maniac. Sometimes, however, it is useful to give the frightful its full measure of respect by acknowledging openly how terrifying it can be.

More here.

Lydialyle Gibson in Harvard Magazine:

A specialist in epistemology and the philosophy of mind, Siegel has always been fascinated by perception: what and how we see, and the effect that has on what we can know. Her 2010 book, The Contents of Visual Experience, argued that conscious visual perception includes all kinds of complex properties: not just color, shape, light, and motion, but other, richer attributes, too. For instance, it encompasses what kind of thing we see—a tree, a bicycle, a dog?—and causal characteristics, like the property a knife can have while slicing through a piece of bread. Perception can even involve personal identity, Siegel argued: the property of being John Malkovich. The book’s central claim was that being able to visually recognize things, such as one’s own neighborhood, or pine trees, or John Malkovich, can influence how those things look to the person who sees them.

But as she was finishing that book, another question began to bother her: if being able to recognize your neighborhood influences how it looks to you, then couldn’t beliefs, desires, and fears do the same? And if prior beliefs could influence someone’s visual experience, how might those experiences, in turn, strengthen those very beliefs?

More here.