On building synthetic organisms from scratch

Kate Adamala in Nature:

Biology is undergoing a transformation. After centuries of studying life as it evolves naturally, researchers are now using a combination of computation and genome engineering to intervene, generating new proteins and even whole bacteria from scratch. The use of artificial-intelligence tools to design biological components, an approach known as generative biology, is set to turbocharge this area of research. Just last year, scientists used AI-assisted design to produce artificial genes that can be expressed in mammalian cells and, for the first time, an AI program was used to create an entirely synthetic virus.

This approach is much more than just a series of technical feats. It could transform how life on Earth develops, as biochemist Adrian Woolfson describes in his latest book. On the Future of Species provides a sweeping account of the history and science behind this transformational technology, from the first gene-sequencing efforts to the rise of AI-powered techniques.

More here.

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Where Have All the Pithiatics Gone?

Robert Boncardo and Christian R. Gelder at the Sydney Review of Books:

Almost a century on, and with pithiatism relegated to the nosological archive, the case of Trénel and Lacan’s ‘strange patient’ remains interesting for several reasons. Firstly, their diagnosis is very much situated in a peculiar French psychiatric milieu, where broader questions about the nature of hysteria converge less on sexual repression and free association, and more on the French state and institutionalised psychiatry. (If Lacan would later become famous for his theatricality, it might in fact be traceable to this psychiatric milieu rather than psychoanalysis.) Secondly, the abasiac woman’s status as a fixture of the Parisian psychiatric scene – her constant appeals to doctors and the medical gaze’s equally intense fixation on her – could be seen to express the rhythms of her symptoms. Her relationship to the medical establishment takes the form of a game of proximity, repeated approaches and pullings away. In consulting numerous doctors, she would, as Lacan and Trénel aptly put it, attach the ‘utmost importance to every step she took’. Thirdly, there is a social and historical poignancy to the case. In Lacan’s early work as a psychiatrist, he wondered if symptoms were not themselves expressions of, or responses to, particular historical moments and contradictions. The final form her gait took – walking backwards on tiptoes while rotating regularly – could be read as a silent assessment of the impact the War had had not just on her, but on everyone: it was no longer possible to walk straight-forwardly into the future, now that it was wholly uncertain. One could only fix one’s eyes on the past, advance away from it carefully so as not to disturb it, and introduce one’s own regularities into a landscape bereft of clear, collective markers.

more here.

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American power rested on culture. No longer.

Seva Gunitsky at Persuasion:

To truly feel the force of America’s cultural attraction you have to be born outside of it. The natives see the cracks up close and learn to take the whole thing for granted. Growing up in the Soviet Union in the 1980s, none of my friends had to be convinced of America’s appeal. Its jeans-clad, Ray-Ban-wearing, moon-dancing cultural exports were the opposite of propaganda. They were the natural overflow of a society so confident in its own desirability that it never had to make a case for itself.

That dominance is what the Civilization video games once called a “cultural victory.” I’m not talking about soft power, a much-abused concept that, in seeking to be policy-relevant, folded in American political values and U.S. foreign policy as part of its definition. The dominance I’m talking about is not built on government-funded exchanges or diplomatic initiatives, but on the organic triumph of a society’s language, art, music, media, consumer brands and, on a deeper level, its norms and aesthetics.

For decades, this was America’s most formidable and least appreciated strategic asset.

More here.

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Friday Poem

“The American dream is a nightmare of natural Hues.”
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,……,,,,,—Roshi Bob

Old New American Genetics

Santa Fe, at the palace of the Governors, this 18th century
listing of official genetic possibilities:

Español.  White.   But maybe a Mestizo, or anyone who has enough
money and the right style

Indio.  A Native American person

Mestizo. One Spanish and one Indio Parent

Color Quebrado.  “Broken color” —a rare category of 3-way or more
mix, White/African/Indio

Mulato. White/African ancestry

Coyote. Indio parent with Mestizo parent

Lobo. One Indio plus one African parent

Genizaro (Janissary).  Plains Indian captive sold and used as slaves

by Gary Snyder
from The Present Moment
Counterpoint, Berkley Ca. 2015

 

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Thursday, February 26, 2026

Is Love Addictive? Many Say Yes, and It’s Changing Our Idea of Romance

Sophie Haigney at the New York Times:

I spoke with several people like Marisa — people whose love lives were disordered, even dangerous, until they began identifying as love addicts.

The idea is that many people have an unhealthy, compulsive relationship with romance that makes stable relationships difficult and causes constant distress. Lately a burgeoning pocket of attention has focused on love addiction. There are first-person essays and podcasts like “Journals of a Love Addict” and the “Modern Love” episode “How Orville Peck Got Addicted to Love and Came out the Other Side.” There are much-discussed memoirs like Elizabeth Gilbert’s “All the Way to the River.” Online forums boom with discussion, with people suspecting that they, too, are problematically obsessive about love — that in a manner similar to alcohol or gambling, romance has come to control their lives and warp their choices.

Love addiction has also spread into the ways ordinary people think and talk about relationships, used casually to diagnose all sorts of drama.

More here.

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On the levels where AI is a next-token predictor, so are you

Scott Alexander at Astral Codex Ten:

In The ArgumentKelsey Piper gives a good description of the ways that AIs are more than just “next-token predictors” or “stochastic parrots” – for example, they also use fine-tuning and RLHF. But commenters, while appreciating the subtleties she introduces, object that they’re still just extra layers on top of a machine that basically runs on next-token prediction.

I want to approach this from a different direction. I think overemphasizing next-token prediction is a confusion of levels. On the levels where AI is a next-token predictor, you are also a next-token (technically: next-sense-datum) predictor. On the levels where you’re not a next-token predictor, AI isn’t one either.

More here.

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Identity Politics and Elite Capture

Olúfẹ́mi O. Táíwò in the Boston Review:

The term “identity politics” was first popularized by the 1977 manifesto of the Combahee River Collective, an organization of black feminist activists. In a recent interview with the Root and in an op-ed at the Guardian, Barbara Smith, a founding member of the collective, addresses common misconceptions about the term. The manifesto, she explains, was written by black women claiming the right to set their own political agendas. They weren’t establishing themselves as a moral aristocracy—they were building a political viewpoint out of common experience to work toward “common problems.” As such, they were strongly in favor of diverse people working in coalition, an approach that for Smith was exemplified by the Bernie Sanders campaign’s grassroots approach and its focus on social issues that people of many identities face, especially “basic needs of food, housing and healthcare.” According to Smith, today’s uses of the concept are often “very different than what we intended.” “We absolutely did not mean that we would work with people who were only identical to ourselves,” she insists. “We strongly believed in coalitions and working with people across various identities on common problems.”

But instead of forging alliances across difference, some have chosen to weaponize identity politics, closing ranks—especially on social media—around ever-narrower conceptions of group interests rather than building solidarity.

More here.

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Peter Hujar’s Day

Carlos Valladaras at Art in America:

“Is this boring?” Peter Hujar asked while narrating a day in his life: December 18, 1974.

“No. It’s not boring to me,” Linda Rosenkrantz—a writer, his friend—replied as she listened to the photographer recount minutiae. In Ira Sachs’s new film, we see her loving all that he is saying, knowing that one day soon he won’t be here, and that all we’ll have then are the photographs, the memories, the traces of what he did.

This one day makes up Peter Hujar’s Day, wherein a great American filmmaker offers one of his strongest films to date—as well as one of the most accurate depictions I know of the internal doubts that plague an artist. On that winter day in 1974, Rosenkrantz recorded Hujar’s quiet but compelling account: He woke up, talked to editors, tried to produce good photographs, worried about not doing enough as an artist. Rosenkrantz went on to type up a transcript of her conversation with Hujar, who died 13 years later, on November 26, 1987, of AIDS-related complications. She left the text untouched for nearly 50 years, until she rediscovered and published it as a book, to wide acclaim, in 2021.

more here.

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Thursday Poem

As Memory, As Anticipation

Awareness of the passing of time is internal,
integral to the mind as traces left in the brain
by the past.

Augustine’s exposition as such is quite beautiful,
based as it is on our experience of music.
Listening to a hymn the meaning of sound is given
by sounds that came before and after.

Music can occur only in time, but if we are always
in the present moment how can we possibly hear it?

Augustine says, it’s because our consciousness is based
on memory and anticipation. A song is, in some way,
present in our minds in unified form held together by
that which we take time to be.

So, this is what time is: entirely in the present,
in our mind as memory,
as anticipation.

by Carlo Rovelli
from ‘The Order of Time”
Riverhead Books, NY, 2018

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Constable’s Year: An Artist in Changing Seasons

Peter Davidson at Literary Review:

The depiction of ordinary places, and of the changing seasons and skies which shadow or illuminate them, is at the core of Susan Owens’s comprehensive and touching Constable’s Year. Near the beginning she quotes from one of Constable’s letters, proof that everything he saw and painted was based on his native Stour valley in Suffolk, and the intensity of observation developed there in boyhood:

… the sound of water escaping from mill-dams, etc., willows, old rotten planks, slimy posts, and brickwork, I love such things … those scenes made me a painter and I am grateful. 

Owens’s book brings alive the degree to which Constable’s apprehension of nature was grounded in his apprenticeship to his father, who was a farmer, miller and barge-owner. Constable had been out in all weathers, watching the skies for signs of rain. He knew the year week by week, the movements of flocks and clouds, the slow ripening of the grain to harvest. When he paints a boy straining to guide a barge under a bridge in Flatford Mill: Scene on a Navigable River, you know that he has set his own feet firmly, and strained his own young shoulders, to fix a pole in the bank of the Stour and heave a great barge forward. Unlike many of his contemporaries, Constable never painted English landscape under generically golden, pseudo-Italian skies.

more here.

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Wednesday, February 25, 2026

Everyone’s a queen: The ant species with no males or workers

James Woodford at New Scientist:

A parasitic species of ant from Japan is the first ever found to have done away with both males and female workers – instead, every individual is a queen that tries to take over the nests of other species.

Typically, ant colonies consist of a queen, female workers and short-lived males that die after mating.

For more than 40 years, researchers have suspected that the rare parasitic ant Temnothorax kinomurai only produces queens, but until now there has been no definitive proof.

Young queens of this parasitic species take over the nests of a related species, Temnothorax makora, killing the host queen and some workers by stinging them. They then reproduce asexually, producing cloned offspring in a process called parthenogenesis, which is rare in ants but common among some other insects. The T. makora workers are duped into helping raise the young T. kinomurai queens.

More here.

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