Kaelen Wilson-Goldie at Artforum:

MYTHOLOGIES RARELY SERVE the artists who inspire them. Ouattara Watts has now entered his fifth decade of painting. His oeuvre consists of the large-to-monumental canvases he has been making prodigiously for forty-five years, alongside lesser-known watercolors, gouaches, drawings, and collages. Over time, he has developed an expansive and wildly complex visual language. It is also unabashedly joyful, even beautiful, insisting on a universal purpose for painting. More than a body, his is a forest of works, too vast, dense, and important to be detoured by an origin story. And yet the origin story persists, making a circuitous route around but rarely through the work and confounded, perhaps, by some minor confusion over the artist’s name: He was born Bakari Ouattara (in the Ivorian capital Abidjan), nicknamed Ouatts (in his youth) and later Ouatt (in Paris), became known as Ouattara Watts (in New York), and is referred to (almost everywhere) as simply Ouattara.

Inventive and searching, formally dexterous and deeply spiritual, his paintings deserve to be better known.

more here.

Nina MacLaughlin at The Paris Review:

In dreams, they anticipated the moon. They anticipated flinging themselves away from the earth up to the glowing pearl in night space. They’d been dreaming this for a long time, who knows how long. The moon, earth’s shadowy white sister, is the ultimate dream object. Even if not dreamed of directly, the moon is dreamtime’s overseer, companion; it’s the quiet warden of the night mind. Lyndon B. Johnson watched the Russian satellite move across the sky and knew: “Second in space is second in everything.” In 1961, John F. Kennedy said, “I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the earth.” And thus, we who are earthbound began “to act as though we were dwellers of the universe,” Arendt writes. Perhaps we always have been, but now we have the tools to see.

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Luke Jennings at the LRB:

When​ the Royal Ballet returned to Covent Garden earlier this year after fourteen months of cancelled shows and empty auditoriums, its public announcements were upbeat. The new season (which has just opened) would include world premieres by Wayne McGregor, Christopher Wheeldon and Kyle Abraham, alongside classic ballets by Kenneth MacMillan and Frederick Ashton. In May and June, ahead of the full reopening, the company streamed an online programme featuring choreographers closely associated with the Royal Ballet. One name was conspicuous by its absence: Liam Scarlett, the former Royal Ballet artist-in-residence. In March 2020, following accusations of inappropriate behaviour over the previous decade, the company had severed ties with him. Other companies followed suit. In April this year it was announced that Scarlett, who was 35, had died. An inquest opened in May and revealed that he had been ‘admitted to Ipswich Hospital on 12 April due to a cardiac arrest following an attempted hanging’. The inquest will conclude in November.

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Justin E. H. Smith in his Substack Newsletter:

Recently I was sent an article about “Glocalqueering in Singapore”, which had something to do with the ways in which queer communities in that strict city-state move in creative ways between the local and the global. The article struck me as ridiculous, and suitable for the mocking spirit in which it was sent to me. Yet when I think about the actual subject, I have to admit I find it interesting, and I want to know more. I find everything interesting, pretty much, including the queer communities of Singapore, and yet I find articles of this sort exasperating.

Why is that so? It seems to me that it is not the subject in question, but rather the rendering of the author’s observations of an entire form of life in the pseudoscientific terms of an “abstract” accompanied by “keywords”, reducing that form of life to data, that somehow makes the whole venture seem fraudulent to me.

More here.

Van Savage and Geoffrey West in Aeon:

Humans have long wondered why we sleep. A well-rested prehistoric mind probably pondered the question, long before Galileo thought to predict the period of the pendulum or to understand how fast objects fall. Why must we put ourselves into this potentially endangering state, one that consumes about a third of our adult lives and even more of our childhood? And we don’t do it grudgingly – why do we, along with dogs, lions and virtually every other animal, apparently enjoy it? Unlike measuring the period of the pendulum, scientists would have to wait much longer to obtain reliable answers, since it’s not so easy to sleep while strangers watch. Doing so involves building sleep disorder clinics for humans and elaborate structures such as platypusariums to observe the REM (rapid eye movement) repose of platypuses.

Over the past few decades, huge amounts of data about the duration of sleep states have been gathered across species, as well as from birth to adulthood in humans. These findings have also been tallied with potential correlates such as melatonin, brain size, metabolic rate, lifespan, and sleep-promoting genes and neurons. Even so, until very recently we’ve lacked a quantitative theory that can predict, for example, why mice sleep roughly 10 times more per day than whales; why baby humans sleep roughly twice as long as adults; why REM and total sleep times change much faster as a baby grows in size than they do with similar size differences across species; and why temperature affects sleep times in cold-blooded animals such as fruit flies.

More here.

Kenan Malik in Pandaemonium:

It’s not often that a shotgun-wielding thief and killer comes to be seen as possessing a moral core. But then it’s not often that you have a character like Omar Little. Or an actor like Michael K Williams to bring him to life. Or a TV series like The Wire that allowed both character and actor to breathe.

The death last week of Williams, possibly of a drugs overdose, has robbed us of one of the most subtle, supple actors of our time. He was outstanding in a number of roles, from Boardwalk Empire to Bessie, from The Night Of to The Road. But it was his portrayal of Omar Little that truly lives in the memory.

The Wire was one of those TV shows that broke the rules of what TV should be, in terms of tone, narrative and pacing, “a television show that thinks it’s a novel”, as the New York Times suggested. But it was much more than that. There are few works in any medium that have more successfully burrowed beneath the skin of our age, exposing that spot where race, class, power and despair coalesce to entrap the human spirit and curdle the American Dream.

More here.

Jack Poulson in The American Prospect:

When I left Stanford to join Google as an AI research scientist, I “went across the street,” as the saying went. I had been a young assistant professor, first at Georgia Tech and then at Stanford, doing research that was partially funded by the Defense Advanced Research Projects Agency (DARPA). At one point, I brought up the ethical issues of researching surveillance technology with the DARPA program manager, but frankly, raising ethical concerns in such a competitive environment felt a bit like labeling myself a troublemaker.

I was ready to move away from defense work, get recognized for software development, and—yes—make enough money to move out of my small, spider-infested apartment on Alma that shook every time the Caltrain went by.

Since then, I’ve learned that digging deeply into public records—combined with a modicum of data science—can lead to greater accountability and transparency.

In 2018, news broke that Google was secretly helping the Pentagon build artificial intelligence to ramp up its drone surveillance program through “Project Maven.” My instinct was that it would be hypocritical for me to complain, given that DARPA had partly funded my previous job.

More here.

Frank Furedi in Spiked:

For almost two decades, I have been attempting to understand the origins and drivers of the culture war that has now engulfed the West. Many paint it as a continuation of the age-old conflict between left and right. But that is misleading. If anything, today’s cultural conflicts, be they arguments over statues or gender identity, coincide with the erosion of traditional ideological differences. Indeed, we have capitalists today who no longer defend capitalism, and an identity politics-obsessed left that is thoroughly hostile towards the working class – especially those who have white skin. The categories of left and right simply do not mean what they used to. And they certainly do not help us make sense of the culture war.

D. T. Max in The New Yorker:

The Irish writer Colm Tóibín is a busy man. Since he published his first novel, “The South,” at thirty-five, in 1990, he has written eleven more books of fiction. He has also published three reported books, three collections of essays, dozens of introductions to other writers’ work, prefaces to art catalogues, an opera libretto, plays, poems, and so many reviews that it’s surprising when a week goes by and he hasn’t been in at least one of the New York, London, or Dublin papers. When I asked Tóibín—the name is pronounced “cuh-lem toe-bean”—how many articles he had written, he could only guess. “I suppose thousands might be accurate,” he said, adding that his level of output used to be more common among writers: “Anthony Burgess, whom I knew slightly, used to write a thousand words a day. He produced a great amount of literary journalism, as well as the novels.” But, unlike Burgess, Tóibín gravitates to assignments demanding considerable diligence. Reviewing a recent biography of Fernando Pessoa, by Richard Zenith, Tóibín read the eleven-hundred-page text and three translations of Pessoa’s “The Book of Disquiet.” Tóibín sometimes assimilates his subject to the point that the writer in question begins to sound like one of his own characters. His Pessoa essay, published in August in the London Review of Books, begins, “As he grew older, Fernando Pessoa became less visible, as though he were inexorably being subsumed by dreams and shadows.”

More here.

https://www.youtube.com/watch?v=Rq0yhizu0y8

(Untitled)

I

In each soul, thousands of lives are imprisoned—
only one escapes,
.. but it would have been nice
…… if a few more could have gotten away —
maybe the actor who would have played an uncut Hamlet
or the fondler of the true grain of good wood
or the pianist who loved music enough to practice.

It would have been good if the whiner had not gotten away,
the one so besotted by the moment
… that its consequence toward the next is forgotten.

by Nils Peterson
from The Dear Time of Our Talking
Frog On The Moon Press, 2020

Micah L. Sifry in The New Republic:

Ten years ago today, on September 17, 2011, a small band of anarchists, artists, and anti-poverty organizers convened themselves in Zuccotti Park in downtown Manhattan, steps from the New York Stock Exchange. They were there to challenge the power of Wall Street and also to try something new in the annals of modern American protest movements: to be a democratic assembly of all who wanted to participate in deciding how and what they would do next. On their first night together that Saturday, perhaps 100 or 200 at best camped out under the park’s 55 honey locust trees.

At first, they were tolerated by the police, since they had stumbled by good fortune into a safe harbor—a privately owned public park that legally allowed people to remain there 24 hours a day. And they were ignored, or derided, by the media, which had seen many Wall Street protests come and go. Over the next few days, their numbers grew modestly while they established working groups for everything from food and health care to a people’s library and scrambled to spread their own messages through the internet. Five days after the Zuccotti occupation began, a nearby protest against the execution of Troy Davis, a Black man in Georgia, brought hundreds of new and somewhat more diverse faces down to the plaza. But it wasn’t until the next Saturday, when the police attacked a column of marchers and one white-shirted deputy was caught on video viciously pepper-spraying a group of women who were already detained, that support for Occupy in New York started to surge.

More here.

Mariana Mazzucato, Rainer Kattel, and Josh Ryan-Collins over at Boston Review:

When President Joe Biden campaigned last year under the slogan “build back better,” he signaled a break with decades of economic thinking that prescribed a limited government role in the economy. As the New York Times put it in April, Biden’s proposal to cut carbon emissions in half by 2030 is “perhaps the greatest bet in recent American history on what economists call industrial policy, the idea that the government can steer the development of jobs and industries in the economy.”

The United States is not alone. Countries throughout Europe and elsewhere are increasingly turning to the view that governments should use industrial policy to tackle grand challenges. Recognizing this trend, the International Monetary Fund issued a report in 2019 called “The Return of the Policy That Shall Not Be Named: Principles of Industrial Policy.”

Why could this policy “not be named”? The short answer is that industrial policy was one of the many casualties of an international shift in economic policy that began in the 1980s and flourished under the administrations of Ronald Reagan in the United States and Margaret Thatcher in the United Kingdom. The emergent sensibility—what we now call neoliberalism—was codified in 1989 in the Washington Consensus, which championed privatization, deregulation, and free trade. Along with these central pillars came an emphasis on low budget deficits, independent central banks focused on low inflation, and the liberalization of trade and foreign direct investment. This outlook was deeply confident in markets and deeply skeptical of government action, beyond the state’s limited role in enforcing property rules and investing in education and defense. “On the basis of an exhaustive review of the experience of developing economies during the last thirty years,” the World Bank summed up in the early 1990s, “attempts to guide resource allocation with nonmarket mechanisms have generally failed to improve economic performance.”

Today it is precisely those “market mechanisms” that appear not to have delivered on their promise.

More here.

Francesco Pacifico in Sidecar (photo by Erling Mandelmann):

Roberto Calasso died this summer at the age of eighty. Among the unpindownable Italian erudites – Eco, Calvino, Pasolini – the author of the international bestseller The Marriage of Cadmus and Harmony (1988), a hybrid meditation on the enduring relevance of Greek myth, is perhaps the hardest to figure out. The Marriage was the second chapter of a hazy, complex and confounding project – Calasso called it an ‘opera’ and would never explain much further – that might be described as a sustained effort to unlock the mystical potential of literature. Extending to eleven volumes with La tavoletta dei destini (2020), it ranges across world history and geography, freely connecting Kafka and Baudelaire, the Vedas and the Bible, Tiepolo and Talleyrand, Mesopotamian and Greek mythology. Of the first installment, The Ruin of Kasch (1983) – whose wandering, eclectically citational reflections on ancient ritual and the nature of the modern established his procedure – Calasso wrote that he wanted to steer clear of the essay form as it had become ‘sclerotized’. ‘From aphorism to brief poem, from cogent analysis of some specific issue to narrated scene’, the book he’d written was rather ‘a whole host of forms…’

Calasso’s hybrids gained worldwide traction in the cosmopolitan eighties and nineties, touted by stars of international letters like Brodsky and Rushdie – the latter praising the erudition and mix of novelistic and essayistic in his book on Vedic theology, Ka (1996). Not perceived as part of a cohort or scene (in contrast to Pasolini and Nuovi Argomenti, or Eco and the Gruppo 63), Calasso was never characterised as particularly Italian, and this always inhibited popular understanding of his work.

More here.

John Banville at The Guardian:

In a coolly furious essay published in book form in 1968, Hugh Trevor-Roper singled out Kim Philby’s “truly extraordinary egotism and complacency” as forces that seemed to the historian “to have dominated Philby’s character and determined his lonely and difficult course”. Trevor-Roper knew whereof he spoke, for he had served with the British Secret Intelligence Service during the war and saw much of Philby during those years. His observations on his former friend are shrewd. Only a man who believed in himself utterly could have given himself utterly to a cause, as Philby did.

Yet he was no fanatic; anything but. John le Carré – who, incidentally, Trevor-Roper strongly attacks in his Philby monograph – pointed out that in the depths of the “fanatic heart” there lurks a doubt, and doubt, in such a heart, is a fatal weakness.

more here.

Dwight Garner at the NYT:

“The world had enough novels,” Richard Powers wrote in “Galatea 2.2,” his semi-autobiographical and arguably best novel, published in 1995. “Certain writers were best paid to keep their fields out of production.”

Among those writers, a quarter of a century later, may be Powers himself. His new one, “Bewilderment,” is so meek, saccharine and overweening in its piety about nature that even a teaspoon of it numbs the mind.

“Bewilderment” is the follow-up to “The Overstory” (2018), his beloved novel about trees, the importance of maintaining forests and people, in that order. It won a Pulitzer Prize and made Powers something close to a secular saint. Let no one say it was overrated.

more here.