Reconstructing Our Attention in the Era of Infinite Digital Rabbit Holes

Tobias Rose-Stockwell at Literary Hub:

For the first time, the majority of information we consume as a species is controlled by algorithms built to capture our emotional attention. As a result, we hear more angry voices shouting fearful opinions and we see more threats and frightening news simply because these are the stories most likely to engage us. This engagement is profitable for everyone involved: producers, journalists, creators, politicians, and, of course, the platforms themselves.

The machinery of social media has become a lens through which society views itself—it is fundamentally changing the rules of human discourse. We’ve all learned to play this game with our own posts and content, earning our own payments in minute rushes of dopamine, and small metrics of acclaim. As a result, our words are suddenly soaked in righteousness, certainty, and extreme judgment.

More here.

Sean Carroll’s Mindscape Podcast: Joseph Silk on Science on the Moon

Sean Carroll in Preposterous Universe:

The Earth’s atmosphere is good for some things, like providing something to breathe. But it does get in the way of astronomers, who have been successful at launching orbiting telescopes into space. But gravity and the ground are also useful for certain things, like walking around. The Moon, fortunately, provides gravity and a solid surface without any complications of a thick atmosphere — perfect for astronomical instruments. Building telescopes and other kinds of scientific instruments on the Moon is an expensive and risky endeavor, but the time may have finally arrived. I talk with astrophysicist Joseph Silk about the case for doing astronomy from the Moon, and what special challenges and opportunities are involved.

More here.

Obsessing Over Elite College Admissions Is the Opposite of Progressive

Francisco Toro in Persuasion:

Imagine the entire cohort of U.S. graduating high school students this year as a group of one thousand bright-eyed 18-year-olds: kids of every class and race, spanning the whole spectrum of talent, wealth and oppression. What should the goal of progressive politics be for them? Where should attention be focused?

Let’s look at our thousand more closely. 380 of them—overwhelmingly poorer and disproportionately black, Latino, and male—will stop their school careers here. They’ll go directly into the workforce, where they’ll earn less and live worse than most of the rest of the group.

Another 190 of our original thousand will enroll in a two-year college. Just 55 of them will actually complete a two-year degree within six years. The other 135 will fail to get any qualification, and they will be at a particular disadvantage in the workforce.

You might think the left would focus their energy like a laser beam on the 570 out of every thousand graduating seniors who never enroll in a 4-year university in the first place. Racial minorities dominate this group, and their socio-economic results are terrible. If you’re actually concerned about social and racial justice, this is where you need to look.

More here.

The Art Of Lygia Pape

Michael Dango at Artforum:

The Neo-Concrete movement was famously short-lived, essentially moribund within a couple of years of the manifesto’s publication. When a US-backed coup deposed Brazil’s leftist president in 1964 and installed a military dictatorship that lasted twenty-one years, Lygia Clark, Ferreira Gullar, and other artists central to the movement fled. Pape remained. Among her peers, Pape always stood out for being left behind. During the Neo-Concrete years, she devoted herself to a seemingly passé medium with which she’d been engaged since the early 1950s: the woodblock. Newspapers singled her out, often simply calling her the gravadora, or printmaker. Pape would later theorize these works as the basis for her whole oeuvre, which came to span film, installation, and participatory performance. As the art historian Adele Nelson explains in her book Forming Abstraction: Art and Institutions in Postwar Brazil (2022), Pape “conceived printmaking as a conceptual foundation for her artistic practice. . . . She refused to view her early prints as mere preludes to participatory works of art” and instead proposed that “prints—that is, stationary works of art—can activate an experiential, phenomenological experience for the viewer.”

more here.

Big Caesars and Little Caesars

Gaby Hinsliff in The Guardian:

One by one, the toxic giants have come crashing to earth. In the last month or so Boris Johnson has quit, Donald Trump has been arraigned on felony charges, Italy’s Silvio Berlusconi has died, and even Vladimir Putin looks significantly weaker than he did. It’s sorely tempting to conclude that the chaotic ride of recent years is finally over, and life might return to something more like normal.

But that, according to Ferdinand Mount’s absorbing tour of populist rogues through the ages, would be a rookie mistake. It may be comforting to think of so-called Caesars – a type of leader defined by what Mount calls his (and it’s mostly, though not invariably, his) “relentless egotism, his lack of scruple, his thoughtless brutality, his cheesy glitz” and above all his loathing of democratic checks and balances – as freakish aberrations from a generally orderly norm. But trace the line from ancient Rome to Oliver Cromwell, from Napoleon Bonaparte to modern-day strongmen, and it becomes obvious that they are a regularly recurring phenomenon for which nations just as regularly fall, and from which they don’t recover overnight. “These ill-starred comets,” Mount writes, “leave a long trail of debris.” But they also have something to teach us about stopping the next Caesar early.

More here.

Taylor Swift in Philadelphia

Jack Nevins at The Paris Review:

Things get especially interesting every weekend night about two and a half hours into the show, when Swift diverges from her otherwise precisely orchestrated set to perform two “surprise songs” from her catalog acoustically, never to be repeated at a later show, or so she says. The number of viewers in the live streams increase threefold, and fans on TikTok broadcast their feral reactions to Swift’s choices, which become ripe for close reading. “If I hear ‘friends break up’ I’m gonna kill myself,” one user watching the Cincinnati show declares, referencing the first line of the song “right where you left me.” Swift plays the opening chords of “Call It What You Want” instead. “Shut the fuck up,” our Swiftie replies, vaulting herself off the couch like an eel out of water. “Not ‘Call It What You Want’!”

Before the Philadelphia show, fans had been speculating that Swift might play “gold rush,” a song that mentions an Eagles T-shirt, or “seven,” which invokes her Pennsylvania childhood. Meanwhile, I’d just won $629 on FanDuel placing a four-leg parlay on a New York Knicks game, and the idea of siphoning my winnings away from rent or clothes or utilities and into an Eras Tour fund seemed both fiscally and sentimentally appealing, an exchange between two of my principal enthusiasms: sports and Taylor Swift.

more here.

Hollywood movie aside, just how good a physicist was Oppenheimer?

Adrian Cho in Science:

This week, the much anticipated movie Oppenheimer hits theaters, giving famed filmmaker Christopher Nolan’s take on the theoretical physicist who during World War II led the Manhattan Project to develop the first atomic bomb. J. Robert Oppenheimer, who died in 1967, is known as a charismatic leader, eloquent public intellectual, and Red Scare victim who in 1954 lost his security clearance in part because of his earlier associations with suspected Communists. To learn about Oppenheimer the scientist, Science spoke with David C. Cassidy, a physicist and historian emeritus at Hofstra University. Cassidy has authored or edited 10 books, including J. Robert Oppenheimer and the American Century.

The following has been edited for length and clarity.

Q: Oppenheimer’s name appears in the early applications of quantum mechanics and the theory of black holes. How good a physicist was he?

A: Well, he was no Einstein. And he’s not even up to the level of Heisenberg, Pauli, Schrödinger, Dirac, the leaders of the quantum revolution of the 1920s. One of the reasons for this was his birth date. He was born in 1904, so he was 3 years younger than Heisenberg, 4 years younger than Pauli. Those few years were enough to place him in the second wave of the quantum revolution and behind the main wave of discovery, in what [philosopher of science] Thomas Kuhn called the “mopping-up operation,” applications of the new theory.

More here.

Wednesday Poem

After Orgoniland*

Can I still picture home, in the wreckage of things?
The dying of fish and everything aquatic. That water
is oil, that another name for

nostalgia is time.

Can I still teach myself how to forget? The story is
that the befouled river still remains. My mother who
is now blind, still trades. Biscuits,

not periwinkles.

It’s early summer and hard to tell what is sky and what is
gas flare. Into the horizon, the air is toxic, and

my only surviving uncle keeps licking franol to relieve

his lung. How long was it? Does the world even read our
ugly stories, does my country even know we
exist?

I have forgotten we’re so minor, not even close to

redemption, children keeping warm oily waters, a pillow
for their trauma. Distant but soft and cozy.
Present but soiled. This land rid of all

her innocence.
|
This land full of dirt and broken pipes. Still I dream. Still I am curious.
Still I want to say: O glorious creeks,
born into a cold marshland.

There is no love greater

than empathy. As fisher-boys, we were brought into the creek,
and told that water is life, and as such we

should keep it clean.

by Ojo Taiye
from
The Poetry Archive, 2022

*Ogoniland is situated in the Niger Delta region, the third largest
mangrove ecosystem in the world.

Tuesday, July 18, 2023

Everything Feels Like the End of the World

Megan Cheong in the Sydney Review of Books:

Climate anxiety is understood by psychologists to be a form of ‘practical’ anxiety as it is considered a rational response to the threat of climate change and can lead to constructive behaviours. At a Melbourne Writers Festival panel in 2022, Else Fitzgerald described her debut short story collection, Everything Feels Like the End of the World, as an attempt to work through her own climate grief, a sorrow that has its roots in the successive periods of drought and flooding she experienced growing up in East Gippsland. This, surely – writing a book – is the kind of ‘constructive behaviour’ the psychologists have in mind. But what of climate anxiety that clamps down, that debilitates and immobilises? The anxiety I feel in relation to the climate crisis leaves me swinging wildly between maniacal bouts of information gathering and long periods of psychic paralysis, during which I work equally hard to avoid any mention of climate change and its attendant calamities.

Many of the stories in Everything Feels Like the End of the World are difficult to stomach, beginning at a point when it is no longer possible to ignore the facts of ecological collapse.

More here.

How climate change intensifies the water cycle, fueling extreme rainfall and flooding – the Northeast deluge was just the latest

Mathew Barlow in The Conversation:

A powerful storm system that hit the U.S. Northeast on July 9 and 10, 2023, dumped close to 10 inches of rain on New York’s Lower Hudson Valley in less than a day and sent mountain rivers spilling over their banks and into towns across Vermont, causing widespread flash flooding. Vermont Gov. Phil Scott said he hadn’t seen rainfall like it since Hurricane Irene devastated the region in 2011.

Extreme water disasters like this have disrupted lives in countries around the world in the past few years, from the Alps and Western Europe to PakistanIndia and Australia, along with several U.S. states in 2022 and 2023.

The role of climate change is becoming increasingly evident in these types of deluges.

Studies by scientists around the world show that the water cycle has been intensifying and will continue to intensify as the planet warms. An international climate assessment I co-authored in 2021 for the Intergovernmental Panel on Climate Change reviewed the research and laid out the details.

More here.

After the Murder: When the wave of hope finally broke for Black America

Donovan X. Ramsey in Guernica:

Especially in northern cities, Blacks were boxed into lives of poverty, redlined into areas of concentrated poverty and further isolated when the federal government built interstate highways that separated them from their white neighbors. Their neighborhoods were patrolled by police departments who moved like occupying forces, with extreme prejudice and impunity. In these places — Los Angeles, New York, Newark, Detroit, and other cities — police brutality was a regular occurrence.

Those conditions birthed another movement. It existed alongside the same timeline as the Civil Rights Movement but wasn’t focused on inclusion and legal protection. It wanted power, the ability for Blacks to control their own lives and communities — including self-defense. This movement also excited Black America, segments that the Civil Rights Movement did not and in ways it couldn’t. The most prominent leader in this movement, of course, was Malcolm X who advocated for complete independence of Black Americans from a fundamentally wicked white society.

More here.

A Thread of Violence: A Story of Truth, Invention, and Murder

Ruth Dudley Edwards at Literary Review:

‘And so it was that, on the evening of August 4, 1982,’ writes Mark O’Connell halfway through this gripping portrait of double killer Malcolm Macarthur, ‘the Irish government’s most senior legal official had his housekeeper prepare the spare room for his friend, a man who had just days previously murdered two strangers, and who had that very evening botched an armed robbery at the home of an acquaintance.’

The police arrested Macarthur at the flat nine days later. The morning after, the innocent and bewildered attorney general, Patrick Connolly, having cleared it with the police and Charles Haughey, the Taoiseach, set off for a long-planned holiday in New York. The story had broken by the time he arrived. Ireland was in uproar and Connolly was hounded by reporters (the New York Post would run the headline ‘Irish Biggie Flees Here After Slay Scandal’).

more here.

Peter Schjeldahl’s Vivid, Unforgettable Prose

Jackson Arn at Art In America:

Even in December 2019, when he announced his disease in a long, devil-may-care New Yorker essay, he did it with a dynamite lede: “Lung cancer, rampant. No surprise.” The diagnosis wasn’t the only startling thing about these sentences: Schjeldahl was writing about his personal life for once, and doing so in the same chiseled prose in which he described Giacometti’s bronzes and Manet’s oils. No matter what his subject happened to be, he treated it as an invitation to write beautifully.

Schjeldahl was born in 1942 and grew up in North Dakota and Minnesota. He dropped out of college, and it shows: he had an autodidact’s distaste for teacher’s pets (in the Goya review quoted above, he says the exhibition “was conceived on the Planet of the Scholars, where every question is considered except ‘So what?’”). Poetry was his first literary love.

more here.

There’s Something Sad About Barbenheimer

Stephanie Zacharek in Time Magazine:

In anticipation of the movie event of summer 2023 known as Barbenheimer, the best and wittiest unpaid advertising Universal and Warner Bros. Pictures could have hoped for wasn’t an Instagram post of a grinning Tom Cruise, along with Mission: Impossible 7 director Christopher McQuarrie, brandishing tickets for Oppenheimer and Barbie. It was a recent tweet from television writer Noah Garfinkel, built around a still from Oppenheimer featuring Tom Conti’s Albert Einstein and Cillian Murphy’s J. Robert Oppenheimer, ostensibly involved in a serious conversation about atom splitting and stuff. The caption read “‘We’re gathering a group of top scientists to go see Barbie.’”

That tweet is great because it’s a life raft of spontaneity in a sea of hype that has come to feel desperate. In the week leading up to the dual releases of Oppenheimer and Barbie, on July 21, the fever has gone off the thermometer. Christopher Nolan, with his fixation on craft (and his status as the guy who made those Batman movies), tackling the story of one of history’s most famous theoretical physicists? The idea is so antithetical to the I.P.-fixated pack-em-in mentality of the past few years that it’s no wonder anticipation among actual grownups, whether they’re Nolan fans or not, is high. The juggernaut around Greta Gerwig’s Barbie is even more formidable: Barbie pink, a hothouse hue verging on fuchsia, is everywhere. And at the film’s Los Angeles premiere, on July 9, Margot Robbie appeared in a life-size version of one of early Barbie’s most famous ensembles, a strapless sparkle evening gown accessorized with a chiffon hankie and the famous Barbie mules, known as “Solo in the Spotlight.” She looked glamorous, sexy and adorable. You’d have to be a certified funkiller not to love it.

More here.

The $1 billion gamble to ensure AI doesn’t destroy humanity

Dylan Matthews in Vox:

The scientists want the AI to lie to them.

That’s the goal of the project Evan Hubinger, a research scientist at Anthropic, is describing to members of the AI startup’s “alignment” team in a conference room at its downtown San Francisco offices. Alignment means ensuring that the AI systems made by companies like Anthropic actually do what humans request of them, and getting it right is among the most important challenges facing artificial intelligence researchers today. Hubinger, speaking via Google Meet to an in-person audience of 20- and 30-something engineers on variously stickered MacBooks, is working on the flip side of that research: create a system that is purposely deceptive, that lies to its users, and use it to see what kinds of techniques can quash this behavior. If the team finds ways to prevent deception, that’s a gain for alignment.

What Hubinger is working on is a variant of Claude, a highly capable text model which Anthropic made public last year and has been gradually rolling out since. Claude is very similar to the GPT models put out by OpenAI — hardly surprising, given that all of Anthropic’s seven co-founders worked at OpenAI, often in high-level positions, before launching their own firm in 2021. Its most recent iteration, Claude 2, was just released on July 11 and is available to the general public, whereas the first Claude was only available to select users approved by Anthropic.

More here.