Kader Attia. Holy Land. 2007
Mirrors.

More here and here.

Matt Mazur interviews Shohreh Aghdashloo in PopMatters:

Editor’s note: This interview contains some minor film spoilers…

Based on French-Iranian journalist Freidoune Sahebjam’s novel of the same name, the film will force audiences to confront, perhaps for the first time, what it really means to be a witness to this kind of outdated capital punishment that is almost exclusively inflicted upon women (beheading, burning and whipping are among the others). Kudos must be given to the filmmakers for even getting this kind of film made in the first place, as it is one that deals primarily with international women’s rights issues in a conscious-raising, politically-relevant way—not exactly a bankable topic, in Hollywood terms. On paper, the odds were definitely stacked against such a dangerous subject.

The depiction of Soraya’s violent death onscreen is eerily reminiscent of the recent public death of Neda Agha-Soltan, the young woman gunned down in the streets of Tehran who became a symbol for freedom the world over, when video of the moment of her death spread virally through media outlets and social networking almost instantaneously. The thought of someone dying in such a public, bloody way, surrounded by hatred, violence or fear hits a raw nerve. I didn’t want to be confronted with the disturbing imagery of Neda bleeding to death in the street either, but like Soraya, Neda is representative of something bigger that must be addressed. The images of Soraya’s and of Neda’s deaths are haunting, but they drive home a very specific, lasting point: the wrongful deaths of the innocent cannot be tolerated in Iran or anywhere else.

Soraya’s brave female lead Zahra breaks the cycle of violence and oppression in her village by having the courage to stand up for what she believes is right and by speaking the truth, even when her life is at stake.

Several critics assess the impact of 1989 on art in and about Eastern Europe in the Guardian. William Skidelsky:

Books

The most striking thing is how few notable novels about the events of that year there have been; or at any rate, how few have made a big impression on the English-speaking world. Perhaps the best-known work to deal directly with 1989 is Waiting for the Dark, Waiting for the Light by Ivan Klíma. Set during Czechoslovakia's Velvet Revolution, it tracks the life of a cynical cameraman whose ideals have been compromised by his complicity with the old regime.

Klima's French-based compatriot Milan Kundera has never written a 1989 novel although he dramatised the dilemmas of the exile returning to post-communist Prague in his fine 2000 novella Ignorance. Other former Soviet bloc writers, too, have found inspiration in the world ushered in by 1989. A fantastical, surrealist strain runs through the best post-communist satires, such as Andrey Kurkov's Death and the Penguin, Pavel Huelle's Mercedes-Benz and Victor Pelevin's The Clay Machine-Gun.

Oddly enough, perhaps the best fictional chronicler of 1989, other than Klima, is Julian Barnes, whose short 1992 novel, The Porcupine, concerns the trial of the recently deposed dictator of a nameless Soviet satellite state.

Dan Friedman in The Forward:

The tambourine, or “riq” as it’s called in Arabic, is actually, despite its Western connotations of preschool classrooms, a staple of classical Arabic music. Unlike kids or folk dancers who shake or clap it, classical musicians hold it vertically and still, at knee level. Like the larger bongolike dumbek, there are three major categories of sound: the “dum” the “tak” and the “kat.” But on the riq, each note can be varied not only by the tension and pace of the hand or the number of fingers applied, but also by the amount of accompanying jingle, the tautness of the drum skin and the amount of resonance the player allows any given beat or sequence.

What makes it so hypnotic and so deeply impressive is the range of simultaneous effects that the skilled player can conjure from the single instrument. In duets such as those that Buchbut played with Dalal, the audience is left wondering how the rhythmic scatter of one person’s hands around the riq could possibly correspond to the complicated, insistent percussion section accompanying the oud. Each finger is almost its own instrumentalist, playing a different pattern on its own and as part of a group.

With modesty appropriate for a player of this most self-effacing of percussion instruments, Buchbut says he knows for certain of two riq players better than himself in New York, and resists any attempt to talk about himself as one of the great riq players of that city. A software engineer by day, he took up the riq only eight years ago. “I was going to learn the djembe [a knee-high drum], but my friend’s girlfriend was learning belly-dancing, so he wanted to learn the dumbek to accompany her, so I started learning with him, and learning the riq came from that,” he said.

(You can hear Layali El Andalus here.)

Michael Massing in the New York Review of Books:

Of all the dismal and discouraging numbers to have emerged from the world of newspapers—the sharp plunges in circulation, the dizzying fall-off in revenues, the burgeoning debt, the mounting losses—none seems as sobering as the relentless march of layoffs and buyouts. According to the blog Paper Cuts, newspapers lost 15,974 jobs in 2008 and another 10,000 in the first half of 2009. That's 26,000 fewer reporters, editors, photographers, and columnists to cover the world, analyze political and economic affairs, root out corruption and abuse, and write about culture, entertainment, and sports.

The membership of the Military Reporters and Editors Association has fallen from six hundred in 2001 to under one hundred today. In April, Cox Newspapers closed its Washington office, contributing to the dramatic decline in the number of reporters covering the federal government. The Boston Globe, The Baltimore Sun, The Philadelphia Inquirer, and Newsday have all closed their foreign bureaus. Because of repeated retrenchments, the McClatchy newspapers, which include The Sacramento Bee, The Charlotte Observer, and more than two dozen other dailies across the US, cannot afford to open a South Asia bureau that's been in the works for three years, or to keep a full-time correspondent in Mexico or even Baghdad, where its bureau has done such standout work. In “the good old days,” McClatchy editor Mark Seibel recently wrote, the organization could lay off reporters “and insist with a straight face that there would be no change in our ability to cover the news. No more. The last year of layoffs, cutbacks and consolidations have hurt. Bad.”

More here.

Obama Axes Pentagon Plan To Build Billion Dollar Tank In Shape Of Dragon

by Stefany Anne Golberg (who also happens to be my wife).

From Prospect Magazine:

Ten years ago Pakistan had one television channel. Today it has over 100. Together they have begun to open up a country long shrouded by political, moral and religious censorship—taking on the government, breaking social taboos and, most recently, pushing a new national consensus against the Taliban. One channel in particular, Geo TV, has won a reputation for controversy more akin to America’s Fox News than CNN or Sky News. Some Pakistanis see it and its competitors as a force for progress; others as a creator of anarchy and disorder. Certainly, the channels now wield huge political influence in a country where half the population is illiterate. But their effect is now felt beyond Pakistan’s borders too—revealing an underappreciated face of globalisation, in which access to television news means that immigrant communities, and in particular Britain’s 0.7m Pakistanis, often follow events in their country of origin more closely than those of the country where they actually live.

I went to Islamabad this April to learn about what many Pakistanis call their “media revolution.” The previous month, during a spate of anti-government protests, Geo TV had again demonstrated its influence by using its popular news programmes to support a “long-march” by opposition groups on the capital Islamabad, and even hosting a celebratory rock concert on the city’s streets when the government caved in to demands to reinstate the country’s most prominent judge.

More here.

From The Chronicle of Higher Education:

For many years, I taught an introductory philosophy class based on Plato's Republic. It is a wonderful work through which to bring students to some of the crucial issues that engage and divide human beings—the nature of knowledge, the desirability of democracy, the place of women in society, mathematics, and God. Above all, there is the Theory of Forms, extrasensory entities that are supposed to inform and determine the objects in this world of sensation and experience. They are Plato's answer to the challenge posed by two earlier thinkers: Heraclitus, who claimed that everything changes (“You cannot step into the same river twice.”), and Parmenides, who claimed that nothing changes (“How could what is perish? How could it have come to be?”). The Forms are timeless and yet manifest themselves in this physical world of corruption and decay.

Others intent on the same ends as I was might have chosen different works by Plato, but I suspect that few if any would have seized on Timaeus, a rather odd dialogue (at least to us) in which Plato argues that the world is a giant organism fashioned by a God, the Demiurge. Today it's hard to imagine that in the early Middle Ages, until Thomas Aquinas and others discovered the attractions of Aristotle, Timaeus was the only known work of Plato. And very influential it was, too, as almost everyone in the early centuries of the last millennium agreed that the world was an organism of a kind. Hence, as with all organisms, it was appropriate to think of the world as having sensations and feelings, and also to ask questions about ends and purposes.

More here.

The Rarest Thyme

For you I would have built a herb-garden,
Not a pathetic patch for mint and chives

But a real olitory, with old-
Fashioned southernwood and rarest thyme.

I might have built a wooden seat between
Two plants of rosemary, their astringent

Scent seeping through your workshirt to the clean
Flesh of your back. I would have grown a plant

Of basil for you to stroke into form;
And, certainly, a row of lavender

To infuse carefully over a warm
Stove, for you to sip at whenever

The world became darkened with sick headaches,
Or a loss of blood whitened your small hands.

by Thomas McCarthy

from Mr. Dineen’s Careful Parade – New and Selected Poems;
Anvil Press Poetry, 1999

Malcolm Gladwell in The New Yorker:

Since the beginning of the financial crisis, there have been two principal explanations for why so many banks made such disastrous decisions. The first is structural. Regulators did not regulate. Institutions failed to function as they should. Rules and guidelines were either inadequate or ignored. The second explanation is that Wall Street was incompetent, that the traders and investors didn’t know enough, that they made extravagant bets without understanding the consequences. But the first wave of postmortems on the crash suggests a third possibility: that the roots of Wall Street’s crisis were not structural or cognitive so much as they were psychological.

In “Military Misfortunes,” the historians Eliot Cohen and John Gooch offer, as a textbook example of this kind of failure, the British-led invasion of Gallipoli, in 1915. Gallipoli is a peninsula in southern Turkey, jutting out into the Aegean. The British hoped that by landing an army there they could make an end run around the stalemate on the Western Front, and give themselves a clear shot at the soft underbelly of Germany. It was a brilliant and daring strategy. “In my judgment, it would have produced a far greater effect upon the whole conduct of the war than anything [else],” the British Prime Minister H. H. Asquith later concluded. But the invasion ended in disaster, and Cohen and Gooch find the roots of that disaster in the curious complacency displayed by the British.

More here.

In the summer of 1979, the director Werner Herzog found himself in the Peruvian river-port city of Iquitos preparing for “Fitzcarraldo,” a period epic starring Jason Robards and Mick Jagger that he planned to shoot in the rain forest. Two and a half years later, he was still there, struggling to finish. Robards and Jagger had long since quit, rendering their footage unusable. Locals had set fire to the filmmakers’ camp; the crew fled waving white flags. Robards’s replacement, the German actor Klaus Kinski, had proved so difficult that two Indian chiefs who witnessed his behavior approached Herzog and helpfully offered to murder him. Another member of the filmmaking team had gone completely insane, grabbed a machete and taken hostages. By then, surrounded by bugs and snakes and rooting pigs, beset by injuries and chronically, critically short of money, Herzog apparently found nothing particularly outlandish in what was happening, so consumed was he by a film that all reason suggested he should have abandoned several crises earlier. “I live my life or I end my life with this project,” he said.

more from Mark Harris at the NYT here.

“Inherent Vice” is Thomas Pynchon doing Raymond Chandler through a Jim Rockford looking glass, starring Cheech Marin (or maybe Tommy Chong). What could easily be mistaken as a paean to 1960s Southern California is also a sly herald of that era’s end. This, of course, is exactly the kind of layered meaning that readers expect of Pynchon. His fans tend to be drawn to either his massive, bafflingly complex efforts — the iconic, National Book Award-winning “Gravity’s Rainbow,” “Mason & Dixon” and “Against the Day” — or to the more constrained, plot-driven narratives of “Vineland” or “The Crying of Lot 49.” It is the big books, with their parades of gloriously obtuse set pieces, full of slapstick and conspiracy and minutely researched ephemera, that established Pynchon as a writer worthy of intense inquiry. Yet having a plot doesn’t make his work any less brilliant, any less Pynchonian. “Inherent Vice” is a perfect case in point. It has a plot. It has a main character. This clear structure will, no doubt, disappoint the big-book boosters, the obsessives who began contributing to the online wiki annotation of “Against the Day” before finishing its 1,085 pages. But maybe we should all take a hit off a fat spliff and enjoy the dirty, brainy achievement of Pynchon’s “Vice.”

more from Carolyn Kellogg at the LA Times here.

Via Sean Carroll at Cosmic Variance:

World Science Festival 2009: Bobby McFerrin Demonstrates the Power of the Pentatonic Scale from World Science Festival on Vimeo.

Midnight Moon

The midnight moon climbs down
to pause on the bamboo span

Smearing itself with the blue from the sky
becomes rain the night long

Drenched in the rain
the moon’s hair grows longer
like the notes of Chaurasia’s flute

The spring carries the smell of the hair
to the river

It makes the hyacinth bloom
furtively

In the sun after the rain
the warbler drinks
the blue water of the river

gazing the while at the river

by Jiban Narah

translated from the Assamese by: Pradip Acharya
from The Buddha and Other Poems; Monsoon Editions,
Calicut, 2009

From Edge:

Sixty-one years ago Aldous Huxley published his lesser-known masterpiece, Ape and Essence, set in the Los Angeles of 2108. After a nuclear war (in the year 2008) devastates humanity's ability to reproduce high-fidelity copies of itself, a reversion to sub-human existence had been the result. A small group of scientists from New Zealand, spared from the catastrophe, arrives, a century later, to take notes. The story is presented, in keeping with the Hollywood location, in the form of a film script.

On July 24, 2009, a small group of scientists, entrepreneurs, cultural impresarios and journalists that included architects of the some of the leading transformative companies of our time (Microsoft, Google, Facebook, PayPal), arrived at the Andaz Hotel on Sunset Boulevard in West Hollywood, to be offered a glimpse, guided by George Church and Craig Venter, of a future far stranger than Mr. Huxley had been able to imagine in 1948.

In this future — whose underpinnings, as Drs. Church and Venter demonstrated, are here already — life as we know it is transformed not by the error catastrophe of radiation damage to our genetic processes, but by the far greater upheaval caused by discovering how to read genetic sequences directly into computers, where the code can be replicated exactly, manipulated freely, and translated back into living organisms by writing the other way. “We can program these cells as if they were an extension of the computer,” George Church announced, and proceeded to explain just how much progress has already been made.

More here.

Fouad Ajami in The New York Times:

A departure and a return: In the legend of Moorish Spain, Boabdil, the last Muslim ruler of Granada, is said to have paused on a ridge for a final glimpse of the realm he had just surrendered to the Castilians. Henceforth, the occasion, and the place, would be known as El Último Suspiro del Moro, The Moor’s Last Sigh. The date was Jan. 2, 1492. More than five centuries later, on March 11, 2004, there would be a “Moorish” return. In the morning rush hour, 10 bombs tore through four commuter trains in Madrid, killing more than 200 people and wounding some 1,500, in the deadliest terror attack in Europe since World War II. This was not quite a Muslim reconquista of the Iberian peninsula, but a circle was closed, and Islam was, once again, a matter of Western Europe.

In his “Reflections on the Revolution in Europe,” Christopher Caldwell, a meticulous journalist who writes for The New York Times Magazine and other publications, gives this subject its most sustained and thoughtful treatment to date. The question of Islam in Europe has occasioned calls of alarm about “Eurabia,” as well as works of evasion and apology by those who insist Islam is making its peace with European norms. Caldwell’s account is subtle, but quite honest and forthright in its reading of this history. “Islam is a magnificent religion that has also been, at times over the centuries, a glorious and generous culture. But, all cant to the contrary, it is in no sense Europe’s religion and it is in no sense Europe’s culture,” he writes.

More here.