Will Wiles at Literary Review:
In 1989, when Thomas Heatherwick was eighteen years old, he picked up a Taschen book about the Catalan architect Antoni Gaudí in a student book sale. Inside it, he saw a double-page spread showing Gaudí’s Casa Milà, an apartment building in central Barcelona. ‘I was stunned,’ he writes in the introduction to Humanise. ‘I had no idea that buildings like this existed. I had no idea that such buildings could exist.’
The picture had a transformative effect on the young Heatherwick, who was already eyeing a career in design. He has since become a prolific and original maker of buildings and other architectural spectacles. His studio has chalked up some very significant successes, such as the delicately beautiful UK pavilion at the 2010 Shanghai Expo, the cauldron for the Olympic flame at the 2012 London Games and Zeitz MOCAA in Cape Town, a remarkable gallery for contemporary African art carved out of a concrete grain silo, which opened in 2017.
more here.
Great critics enjoy magisterial prerogatives, and one of them is the right of comparing John Milton to William Shakespeare. When Samuel Taylor Coleridge took his turn, he was wise enough to refrain from making the two contenders for the title of England’s greatest poet. They are simply too different, he avers. Milton is Shakespeare’s “compeer, not his rival.” Shakespeare, Coleridge explains, “passes into all the forms of human character and passion,” while Milton, “attracts all forms and things to himself, into the unity of his own ideal. All things and modes of action shape themselves anew in the being of Milton; while Shakespeare becomes all things, yet forever remaining himself.” For Coleridge the authorial personality of the one is perfused throughout his work until no stable, freestanding sense of “Shakespeare” remains; the work of the other, line by exacting line, demands to be read in light of the man himself. Not even Dante, who cast himself as the protagonist of his own great poems, or Tolstoy, who pauses a narrative to interject whole philosophical essays, press themselves on the reader as forcefully as does Milton.
Earlier, during more critical times, he had been accused of many bad things. Now that he’s gone, his critics will get a chance to rehearse the charges. Christopher Hitchens, who made the case that the former secretary of state should be tried as a war criminal, is himself dead. But there’s a long list of witnesses for the prosecution: reporters, historians, and lawyers eager to provide background on any of Kissinger’s actions in Cambodia, Laos, Vietnam, East Timor, Bangladesh, against the Kurds, in Chile, Argentina, Uruguay, and Cyprus, among other places.
Today, even seasoned researchers find understanding in short supply when they confront the central open question in theoretical computer science, known as the P versus NP problem. In essence, that question asks whether many computational problems long considered extremely difficult can actually be solved easily (via a secret shortcut we haven’t discovered yet), or whether, as most researchers suspect, they truly are hard. At stake is nothing less than the nature of what’s knowable.
Arthur Conan Doyle secretly hated his creation Sherlock Holmes and blamed the cerebral detective character for denying him recognition as the author of highbrow historical fiction, according to the historian Lucy Worsley.
By the time Amanda Stern was in her mid-40s, she no longer suffered from clinical depression. And her panic attacks, which had started in childhood, were mostly gone. But instead of feeling happier, she said, “I felt wallpapered in an endless, flat sadness.” Confused, she turned to her therapist, who suggested that she had dysthymia, a mild version of persistent depressive disorder, or P.D.D. Ms. Stern, an author based in New York City, often writes about mental health, but she had never heard the term. She soon realized that she had experienced dysthymia on and off for decades. “I am not suffering from it right now,” she added, “but I imagine I’ll live with it again.” She decided to write about it in her newsletter, 
An autonomous system that combines robotics with artificial intelligence (AI) to create entirely new materials has released its first trove of discoveries. The system, known as the A-Lab, devises recipes for materials, including some that might find uses in batteries or solar cells. Then, it carries out the synthesis and analyses the products — all without human intervention. Meanwhile, another AI system has predicted the existence of hundreds of thousands of stable materials, giving the A-Lab plenty of candidates to strive for in future.
As we head into COP28, the annual global meeting on climate change underway in Dubai, there are two dominating schools of thought, both of which are wrong. One says the future is hopeless and our grandchildren are doomed to suffer on a burning planet. The other says we’re all going to be fine because we already have everything we need to solve climate change.
At around 11:30 a.m. on the Friday before Thanksgiving, Microsoft’s chief executive, Satya Nadella, was having his weekly meeting with senior leaders when a panicked colleague told him to pick up the phone. An executive from OpenAI, an artificial-intelligence startup into which Microsoft had invested a reported thirteen billion dollars, was calling to explain that within the next twenty minutes the company’s board would announce that it had fired Sam Altman, OpenAI’s C.E.O. and co-founder. It was the start of a five-day crisis that some people at Microsoft began calling the Turkey-Shoot Clusterfuck.
Noisy. Hysterical. Brash. The textual version of junk food. The selfie of grammar. The exclamation point attracts enormous (and undue) amounts of flak for its unabashed claim to presence in the name of emotion which some unkind souls interpret as egotistical attention-seeking. We’ve grown suspicious of feelings, particularly the big ones needing the eruption of a ! to relieve ourselves. This trend started sometime around 1900 when modernity began to mean functionality and clean straight lines (witness the sensible boxes of a Bauhaus building), rather than the “extra” mood of Victorian sensitivity or frilly playful Renaissance decorations.
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