Tuesday Poem

Reveille for Two Poets
George De Gregorio

Wake up, Walt Whitman!Walt Whitman Drawing Standing in Hat
you’ve got a message:
America is still singing your songs,
you’re on the top 20 list
with the rappers and the throngs.
Lilacs still bloom in the dooryard in the spring
and the Song of Myself still holds.

Wake up William Carlos Williams!
a telegram for you sir.
Paterson is still alive and teeming
as Latinos and Blacks and othersWilliam Carlos Williams Young Portrait
yearn to breathe free.
Your Catholic bells are still ringing
and the Red Wheel Barrow
is still catching water.
Your little old sleepy hometown
is breaking out the glad-rags to celebrate you 125th
with a symposium of your songs — ad infinitum.

Don’t laugh Walt! Don’t laugh Carlos!
Your poetic clout still keeps America singing.
Together, you bridged three centuries
to this historic moment:
Obama, a black man,
and Hillary, a woman, together
are the first of their kind
to trade gibes in pursuit of a nomination
for President of the United States.

In the bank the other day
your songs were on full display.
The young teller was a beautiful Thai girl.
Her nameplate told it all:
she had become Mrs. Harrington, USA.

Get the pitch, Walt? What do you say Carlos?
America is still singing your triumphant songs.
Your songs of prophecy have lasted longer
than you had hoped.

Your songs have spawned an epidemic
which has infected 300 million;
there’s no telling what changes they will bring:
a calm or a whirlwind.



African American History

From Wikipedia:

Crispus_Attucks The first recorded Africans in British North America (including most of the future United States) arrived in 1619 as indentured servants who settled in Jamestown, Virginia. As English settlers died from harsh conditions more and more Africans were brought to work as laborers. They for many years were similar in legal position to poor English indenturees, who traded several years labor in exchange for passage to America.[7] Africans could legally raise crops and cattle to purchase their freedom.[8] They raised families, marrying other Africans and sometimes intermarrying with Native Americans or English settlers.[9] By the 1640s and 1650s, several African families owned farms around Jamestown and some became wealthy by colonial standards. The popular conception of a race-based slave system did not fully develop until the 1700s. The first black congregations and churches were organized before 1800 in both northern and southern cities following the Great Awakening. During the 1770s Africans, both enslaved and free, helped rebellious English colonists secure American Independence by defeating the British in the American Revolution.[10] Africans and Englishmen fought side by side and were fully integrated.[11] James Armistead, an African American, played a large part in making possible the 1781 Yorktown victory that established the United States as an independent nation.[12] Other prominent African Americans were Prince Whipple and Oliver Cromwell, who are both depicted in the front of the boat in George Washington's famous 1776 Crossing the Delaware portrait.

Picture: An artist's conception of Crispus Attucks, the first “martyr” of the American Revolution.

More here.

Politics in the Guise of Pure Science

John Tierny in The New York Times:

Tierney-500 Why, since President Obama promised to “restore science to its rightful place” in Washington, do some things feel not quite right? First there was Steven Chu, the physicist and new energy secretary, warning The Los Angeles Times that climate change could make water so scarce by century’s end that “there’s no more agriculture in California” and no way to keep the state’s cities going, either. Then there was the hearing in the Senate to confirm another physicist, John Holdren, to be the president’s science adviser. Dr. Holdren was asked about some of his gloomy neo-Malthusian warnings in the past, like his calculation in the 1980s that famines due to climate change could leave a billion people dead by 2020. Did he still believe that?

“I think it is unlikely to happen,” Dr. Holdren told the senators, but he insisted that it was still “a possibility” that “we should work energetically to avoid.” Well, I suppose it never hurts to go on the record in opposition to a billion imaginary deaths. But I have a more immediate concern: Will Mr. Obama’s scientific counselors give him realistic plans for dealing with global warming and other threats? To borrow a term from Roger Pielke Jr.: Can these scientists be honest brokers? Dr. Pielke, a professor in the environmental studies program at the University of Colorado, is the author of “The Honest Broker,” a book arguing that most scientists are fundamentally mistaken about their role in political debates. As a result, he says, they’re jeopardizing their credibility while impeding solutions to problems like global warming.

More here.

Monday, February 23, 2009

Renaissance of the Repressed

by Jeff Strabone

The twenty-first century may still be fairly new, but its nameless first decade—the naughties? the zeroes?—is drawing to a close and it’s time to start taking stock. I have noticed something happening in the art of this decade that may indicate a deep change in contemporary attitudes towards the past and its uses. It could be the passing fancy of a handful of artists, or it could indicate the end of the twentieth century’s modern and postmodern obsessions and anxieties. What I have noticed is the return of pre-modern attitudes towards tradition.

Let’s consider some examples. In 2000, Bill Viola made a video called The Quintet of Remembrance which poses actors as figures found in paintings by Hieronymus Bosch, Andrea Mantegna, and Dieric Bouts. Shot in one minute of real time, the video is shown slowed down to sixteen minutes, the effect being a heightening of the actors’ gravity and emotions. The lighting, poses, and facial expressions are clearly not of our era, yet the clothing is, as seen in this still.

Viola, The Quintet of Remembrance

The Quintet of Remembrance was the first piece of video art to enter the Metropolitan Museum’s collection.

Similarly, Eve Sussman recreated Velázquez’s Las Meninas in a twelve-minute video in 2004 called 89 Seconds at Alcazar. Here is a still from Sussman’s video, which was part of the 2004 Whitney Biennial and was also part of the inaugural exhibition of the MoMA’s new dedicated video gallery when the museum reopened in 2004.

Sussman, still

What Viola and Sussman have done in video others have done in painting. Karel Funk, born in the 1970s, has emphasized contemporary fabrics in his neo-Renaissance photo-realist paintings, as seen here in an untitled painting from 2003. The figure wears the hood of a monk, but it appears to be made out of Gore-Tex.

Funk, Untitled (2003)

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Interpretations: Harun Farocki, Respite (2007)

by Judith Goudsmit and Asad Raza

Respite consists mostly of black-and-white film shot at Westerbork, a Dutch refugee camp established in 1939 for those fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer; this is the footage used in Respite. It shows inmates processing mechanical parts, doing aerobics, mounting stage productions, and other activities. It also shows inmates being loaded onto trains. Before the film could be completed, its subjects, as well as Breslauer, were transferred to Auschwitz and killed. Farocki's Respite, like the original images, contains no sound. His changes to the archival footage are very simple: he edits it and intersperses black title cards on which short texts, usually one sentence, appear.

Picture 10

(All film stills courtesy of Greene Naftali Gallery, New York)

Judith Goudsmit: It's interesting how the texts Farocki provides us with evolve over the course of the film. First, we view the images with short explanations of what we are seeing. Then, as if he is reevaluating his previous interpretations, he repeats certain images with different, more personal texts, pointing out certain details, or emphasizing one aspect of the image. Watching it, I felt like I was being tested, as if he was asking what would be more effective, what would be more shocking, provoking, sad, etc. Maybe because I grew up hearing so many stories about Westerbork, and the Holocaust generally–almost every successful Dutch novel is about the Holocaust or its aftermath–I have become so familiar with the way people tell these stories that these personal notes Farocki gives us almost seem to play with clichéd or contrived notions of the Holocaust and its impact. Also, the images just seem plain joyous at first: genuine fun, jumping around in a circle. Later, with Farocki's comments, this 'fun' gets macabre undertones. I think he is questioning whether we can look at these images without the knowledge we have now, without their context of death. Is it ever possible to look at things just for what they are? Of course he is questioning a lot more, but I'm rambling and just had a phone fight with my mother. What do you think?

Picture 17

Asad Raza: I think Respite is a very honest film, because it admits a really basic truth: not only can we not look at things for what they are, we can't even know what they are. Respite doesn't pose, as most documentaries do, as an objective account of historical reality; it's more like a meditation on its source material. As you said, some of its archival images seem very incongruous to the tragic destiny of Westerbork–people dancing and jumping and smiling. The title cards tell us these images are rarely shown, perhaps because they aren't obviously or viscerally terrible. They aren't symbolic enough of the historical “meaning” of Westerbork. Yet the fleeting smiles of the camp's inmates are possibly more crushing than the standard Holocaust-documentary shot of hills of corpses. Dead bodies are ultimately objects; a woman leading a dance class, who we know will soon be murdered–this is sickness and tragedy. And the film lets us ponder this footage without the distraction of music or other added elements. It doesn't tell us how to feel too directly, which allows our own reactions to emerge all the more powerfully. This way, the film respects the basic strangeness, or unknowability, of these moving images, instead of pretending that they record a reality we already know how to interpret.

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X-Epsilon

By Maniza Naqvi

Brain_scansJust as the frigid February evening air is stirred by the imams calling out the azan from all over the valley on Monday evening —Hiya al salah—hiya al falah— “come towards worship—come towards salvation”— Rahima pulls a cigarette out from her pack of Drinas; sticks it between her lips; lights it; dials 5555 and calls a Zuti taxi to her apartment—one of the many cab companies in Sarajevo which arrive at the door a minute after being called. She puts on her coat, an oversized olive color, man’s raincoat with a corduroy collar. She double checks the pockets for her pack of Drinas and the 3 convertible marks in loose change for the fare. All set, she leaves her one room apartment. The cab arrives and she gets in to its smoke filled interior. A sevdah’s ululating blues plays on FM 89.9 Radio Zid for the short ride just down the hill to the hospital.

Her 48 hour duty has begun. She has entered her world. All morning long she has cleared her head for this—all Monday morning, after a weekend plunged in a seamless nightmare-filled fitful sleep. The same nightmares always, every off-duty. The same method of recovery. This is her routine.

Outside the emergency room she can see the usual sight: police guards with automatic weapons dressed in tight black uniforms and bullet proof vests barring the way to the ER. Police cars parked in the driveway. She sweeps past them waving them aside, saying she’s the doctor and can’t they see that?

'He’s a bank robber from Olovo! He’s shot himself trying to run away!' A cop shouts after her.

“Thank you doctor” she growls back at him and shrugs her shoulder with a jolt as though repulsed.

As she enters the ER and surveys the newest arrival it’s as though a switch had been turned on inside of her lighting up a thousand bulbs of a thousand watt each. She is on! This is an interesting one. The one last week, the victim of a burglary—the plastic surgery—the reconstruction—was successful. It seems to have worked but it’s still too early to tell, the bandages haven’t come off yet.

This one, they tell her, he has shot himself in the head. Outside, the hospital the walls are still pock marked with bullet holes. Inside for Rahima it has never ended, it goes on.

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Monday Poem

Hormones in Love
Jim Culleny

Only one can have this thought.
Did you think your thoughts were mine?

We lie apart as close as this:
thinking still alone combined.

Two skulls each with a budding brain.
Two “I”s distant as two moons
catching light from somewhere else
too bright to be too far and soon

we come together touch and kiss
we think there is no more than this
we think we think the selfsame thoughts
—but pleasure's not the same as bliss.

We come together, kiss and touch
We think this close is not too much.
And though we think we are as one
—embrace is not the same as clutch.

Writing (Hyper)text and Image

A Polyptychal Discursion by Daniel Rourke

This text, designed with its own concerns in mind, diverges on many trajectories, crossing over itself, intersecting its arguments and statements with images and forms which question the traditional logic of the essay. This text will become enabled not through a writer's statements, but through a reader's response. A spiral of concepts ruptures the words, pulling you, the reader, into the written phrase.

Response is required of any reading. The internet is a form capable of allowing a reader's response to influence the writer's trajectory; to send the written back into itself, melding its writer and its reader as one critical engagement.

This text requires your writing.

UBU edition of Éclat by Caroline Bergvall

Works of art may embody a mimesis (imitation) of reality within themselves or as an organising principle of their making/crafting, but in turn mimesis in art always speaks of the separation between subject and object.

“Socrates himself wrote nothing at all. If we are to believe the account of his reasons given in Plato’s Phaedrus, it was because he believed that books could short-circuit the work of active critical understanding, producing a pupil who has a ‘false conceit of wisdom.”

Martha Nussbaum

In Plato’s dialogue, Phaedrus, Socrates elucidates an argument against writing. The fact that this dialogue still remains is due to his pupil, Plato, using the new critical form his mentor disagreed with to commit it to cultural memory. Socrates envisaged the crest of a wave which, in only two generations, would crash down over the critical tradition he represented. The oral arguments of Socrates were advanced through Plato’s written pursuit. In turn, Plato’s own pupil, Aristotle, would use writing, reading and the diagram to propound new modes of critical argument which perhaps, only two generations earlier, would not have been possible.

We stand at present on the crest of our own critical wave. From orality to textuality we now move towards a hypertextual, data-driven, digital, 'New Media' revolution. The impact that this revolution will have on the acquisition and transmission of language, and the effect in turn imparted upon mind and the matter of thought and consciousness are interesting in their own right. For my purposes though, and as a distant echo to some of Socrates’ concerns, I perceive the current digital momentum behind language and textual technology as a creative force that will fundamentally alter the 'written' model.

Writing did not destroy the critical mimesis propounded through Socrates’ oral tradition. Writing supplemented the oral tradition in ways Socrates, Plato and Aristotle were incapable of imagining. ‘Traditional’ forms of text are at present under similar supplementary transition/translation. The rhetoric and critique surrounding text is under duress from ‘fast encroaching’ digital and hypertextual mediums, or what Marjorie Perloff calls “the reading-writing mechanism[s] of the new electronic page”.

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Questions for 2009

This is the time of the questions. I know this is true of me, and since I am taking the position, increasingly borne out by events, that my situation, talents, and prospects are pretty unexceptional, I assume it is true of others as well. I ask myself most of the following questions at least once a day, and, in the spirit of sending a note to posterity, I thought I might record some of them.

Will I ever make any money ever again? Not for years, it seems. I can't imagine it, really, although I understand it must happen. I can see now why my grandmother saved pencil stubs, hardened erasers, and pretty much everything else that came into her house. I wish I hadn't thrown out her old rubber bands; I am getting low on them.

So, is this the Great Depression all over again? It kind of feels like it, except that we can't go back to the old farmhouse anymore. We must suffer in our cities and in our cul-de-sacs.

If it is the Depression all over again, was there anything good about the Depression?
Oh, yes! Screwball comedies. The perfection of photography. (The old timers working with the big clunky cameras — Edward Weston, Ansel Adams, Marion Post Wolcott, Walker Evans — absolutely trounce their descendants, and may I add here that Henri Cartier Bresson is overrated.) The Marx Brothers. Ernest Hemingway. John Steinbeck. The early New Yorker. Raymond Chandler. This line of thought always makes me feel better. The worst times make the best art, it is true, and I guess we have that to look forward to.

Does all that outweigh the Depression and the rise of Stalin and Fascism? Oh, for God's Sake!

Are newspapers really dead? They seem pretty dead to me. The persistence of the Style section in the New York Times appears to prove this, like the gaudy makeup on an embalmed body.

Will I write a great novel? Probably never, and the answer is further darkened by the following question.

If I wrote a great novel, could I even get it published? With major publishing houses shrinking as fast as the newspapers, this seems unlikely.

If I got it published, would anyone read it? Never mind this novel thread. It is purely sullen, and that's a sin that merits a stay in Hell, according to Dante, whom I am reading to cheer up. Still, I wanted an honest accounting, and so we had to pursue the manque thing this far.

How can so many women be supporting so many men? Among my friends, the men are all in sweatpants at home, or supervising the meltdown of some formerly flourishing concern, while the women soldier on, bringing home the paychecks, and sometimes making dinner, too. Statistics bear this out. Eighty percent of the fired are men. This is not just the collapse of an economy, but the collapse of a gender.

Which would I rather have: General prosperity and giant sunglasses, $10,000 handbags, and $500 distressed jeans, or the current situation? As much as I hate to, I would have to go with the general prosperity and the expensive jeans. I should have accepted ginormous sunglasses from Dolce and Gabbana as a sign of economic health to burn, and not the mark of Satan. This hurts to admit.

Should I go back to school? It seems so lame, and yet so practical. I probably should.

Could I be sadder? Maybe, but it would have to be caused by extra death and disease.

How long until Obama goes absolutely, totally gray? It has probably already happened.

Sunday, February 22, 2009

I will always stand on the side of the egg

In this powerful speech, the great author explains his controversial decision to accept a literary prize in Israel and why we need to fight the System.

Haruki Murakami in Salon:

ScreenHunter_09 Feb. 22 17.13 I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing.

Please do allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: rather, it is carved into the wall of my mind, and it goes something like this:

“Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg.”

Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?

More here.

Sunday Poem

#443: I tie my Hat— I crease my Shawl
Emily Dickinson

I tie my Hat—I crease my Shawl—
Life's little duties do—precisely—
As the very least
Were infinite—to me—

I put new Blossoms in the Glass—
And throw the old—away—
I push a petal from my Gown
That anchored there—I weigh
The time 'twill be till six o'clock
I have so much to do—
And yet—Existence—some way back—
Stopped—struck—my ticking—through—
We cannot put Ourself away
As a completed Man
Or Woman—When the Errand's done
We came to Flesh—upon—
There may be—Miles on Miles of Nought—
Of Action—sicker far—
To simulate—is stinging work—
To cover what we are
From Science—and from Surgery—
Too Telescopic Eyes
To bear on us unshaded—
For their—sake—not for Ours—
'Twould start them—
We—could tremble—
But since we got a Bomb—
And held it in our Bosom—
Nay—Hold it—it is calm—

Therefore—we do life's labor—
Though life's Reward—be done—
With scrupulous exactness—
To hold our Senses—on—

Rescue Flight

Jon Mooallem in the New York Times Magazine:

ScreenHunter_08 Feb. 22 13.47 It was the first Friday in December, 23 degrees at dawn and nearly windless. Everyone was looking up.

Operation Migration’s four ultralight planes floated into view over some oak and maple trees, then passed over the small, white chapel. An ultralight is powered by a massive rear propeller. In the sky, it looks like a scaled-down Formula 1 car dangling under the wing of a hang glider. Because the little planes taxi on three wheels, pilots call them trikes. At 200 feet, the first pilot, Chris Gullikson, was perfectly visible in his trike’s open cockpit. He was wearing his whooping-crane costume, a white hooded helmet and white gown that looked like a cross between a beekeeping suit and a Ku Klux Klan get-up. Gullikson and the other trike pilots were going to pick up the 14 juvenile whooping cranes that they were, little by little, leading south for the winter. Traditionally, and for many millenniums, cranes learned to migrate by following other cranes. But traditions have changed. Outside the church, a plucky, silver-haired woman named Liz Condie was explaining to the spectators why, exactly, her team has had to dress up and step in.

More here.

13 Things That Don’t Make Sense

Christopher Hart in The Times:

Michael_Brooks_486722a For all the achievements of science during the 20th century, its great heroic age, there remains a surprising number of absolutely fundamental questions still to be answered. Questions as basic as What Is Life? and Why Do We Die?

In this fascinating, bang-up-to-date report from the outer limits of scientific knowledge today, New Scientist writer Michael Brooks examines 13 of the most urgent scientific mysteries in turn.

One of the great discoveries of 20th-century science was that our universe is expanding. The discovery, however, led straight to another puzzle. The puzzle is, there's nowhere near enough matter to prevent the expanding universe from blowing apart completely into a vast, sterile infinity of lifeless interstellar dust. So how come we live in a lumpy universe, one of the lumps being the planet on which we live? There must be more matter than we can see: the famous dark matter and, to go with it, something even more mysterious – dark energy.

To date, however, there's not a shred of evidence for either, even though teams of scientists have been looking for years.

More here.

The Black Journalists Movement

From mije.org:

Brad They could be called the integrationists, the young African American men and women who pushed open the doors of mainstream media and paved the way for journalists of color. Young journalists such as Nancy Maynard, Ed Bradley, Earl Caldwell, Charlayne Hunter Gault, Claude Lewis and Wallace Terry reported, organized, mentored and raised the bar for generations to come.

Ed Bradley

One could say that Ed Bradley in part owes his career to a popular Philadelphia radio DJ. Georgie Woods, after all, was the one who came to Bradley's college and gave a talk that inspired Bradley to become a DJ. Cheyney State was a teacher's college and Woods was there to talk to the senior class about using community resources to reach out to kids. Bradley, however, was more interested in Woods' work in the studio. Woods invited the young teacher to WDAS and as Bradley toured the station his life's mission became clearer.

“I just knew when I walked out there that night that I was put on this earth to be on radio,” he says.

Bradley spent everyday at the station, turning his attention to music, sports and some news. When he graduated from Cheyney and began teaching, he went to the station in the evenings. His friend and mentor Del Sheilds, the station's jazz DJ, always encouraged him to focus on news. That, Sheilds told him, was where the opportunities were.

More here.

Stories from Pakistan about living upstairs, downstairs and everywhere in between

From The Washington Post:

Book Because of Salman Rushdie, Arundhati Roy and Rohinton Mistry, to mention just a few of the most prominent authors, American readers have long been able to enjoy one terrific Indian novel after another. But Daniyal Mueenuddin's In Other Rooms, Other Wonders is likely to be the first widely read book by a Pakistani writer. Mueenuddin spent his early childhood in Pakistan, then lived in the United States — he attended Dartmouth and Yale — and has since returned to his father's homeland, where he and his wife now manage a farm in Khanpur. These connected stories show us what life is like for both the rich and the desperately poor in Mueenuddin's country, and the result is a kind of miniaturized Pakistani “human comedy.”

In the original Comédie humaine, Balzac had the ingenious notion of tying his various novels together by using recurrent characters. Eugène de Rastignac is the protagonist of Le Père Goriot but is subsequently glimpsed in passing or sometimes just referred to in several other books. In like fashion, Mueenuddin interlaces eight stories, while also linking them to the household of a wealthy and self-satisfied landowner named K.K. Harouni. In “Saleema,” for instance, Harouni's elderly valet, Rafik, falls into a heartbreaking affair with a young maidservant, and we remember this, with a catch in our throat, when in another story we see him bring in two glasses of whiskey on a silver tray. In “Our Lady of Paris,” we discover that Harouni's nephew is madly in love with a young American woman named Helen; later on, we discover that he is married — to an American named Sonya.

More here.

Saturday, February 21, 2009

The Indian Railway King

How did India’s Huey Long become its Jack Welch?

Graeme Wood in The American:

FeaturedImage In his boyhood, long before Lalu Yadav became India’s most unlikely management guru, he sometimes strayed from his cows and scampered barefoot to the railroad tracks. Dodging crowds and porters, he made his way to the first-class cars and, for a few glorious moments, basked in the air conditioning that blasted from the open door. Then the police would spot him and shoo him away, into the moist trackside cowflap where he belonged.

The boy has grown up, but when I meet him in his New Delhi office, he’s still barefoot, and a headache for train conductors everywhere. Lalu Yadav, 61, is now the boss of all 2.4 million Indian Railways employees. When he wants air conditioning, he nods, and a railway employee hops up to twist the dial. As minister of railways, he rules India’s largest employer—one with annual revenues in the tens of billions—from a fine leather sofa, his sandals and a silver spittoon on the floor nearby and a clump of tobacco in his cheek.

Lalu is a happy man: happy to have risen to become rich, beloved, and reviled all over India; happy that a grateful nation credits him with whipping its beleaguered rail system into profitability; and happy that he’s managed to do all this and somehow stay out of jail.

More here.

Fighting the Loss of Night

Marco Evers in Der Spiegel:

ScreenHunter_07 Feb. 22 13.10 But now a new movement is taking shape worldwide in opposition to the misuse of artificial light. Stargazers, environmentalists, light engineers, cultural anthropologists and doctors specializing in the treatment of sleep disorders all want to put an end to the dictatorship of eternal light. Light pollution is a rapidly growing environmental problem, but it is also one that could be solved relatively easily. In many cases, all it takes is goodwill and a few little tricks.

Some countries have already passed laws and regulations to control light pollution. Slovenia is a pioneer in Europe. There, cities and towns are now required to reduce their light emissions. In addition, artificial lights must shine in such a way that their light beams do not rise above the horizon. This spells the end of the “skybeam” searchlights much loved by nightclub operators.

Germany has been less active on the photon front, although German scientists did recently embark on the battle against light pollution. Under the leadership of the Berlin-based Leibniz Institute of Freshwater Ecology and Inland Fisheries (IGB), more than two dozen scientists from various disciplines will study the effects of light pollution on plants, animals and human beings, as well as what to do about it.

More here.

How the Arabs Transformed Western Civilization

Ziauddin Sardar in The Times:

ARISTOTLE_585x385_b_473289a When Baghdad opened its gates as the new capital of the Abbasid Caliphate, the prime site in the city was occupied by the royal library. Both the city and the library, completed around 765, were built by Caliph al-Mansur, who devised a method for measuring the circumference of the Earth and was second in a long line of Abbasid caliphs who valued thought and learning above all else. The Abbasids created, shaped and developed one of the most rich and fertile periods of science in human history.

The library was officially called “the House of Wisdom”. It was a monumental structure, accommodating translators, copyists, scholars, scientists, librarians and the swelling volumes of Persian, Sanskrit and Greek texts that flooded into Baghdad. Not surprisingly, it became a magnet for seekers of knowledge from across the Muslim empire.

Jonathan Lyons tells the story of the House of Wisdom, the caliphs who suppor-ted it and the people who worked there, at a riveting, breakneck pace. In quick succession we meet scholars such as al-Khwarizimi, the illustrious Muslim mathematician and founder of algebra, the geographer al-Masudi, who described major sea routes to Persia, Cambodia and as far as the Malay peninsula in The Book of Roads and Kingdoms, and al-Kindi, the first Arab philosopher. But Lyons is more concerned with how what was happening in Baghdad and other Muslim cities was transferred to Europe. So he focuses on a string of colourful translators and scholars who travelled to the Muslim world and took its knowledge and discoveries back with them.

Adelard of Bath, for example, travelled to Antioch and Sicily in his dogged pursuit of what he called studia Arabum, the learning of the Arabs.

More here.