by Sabyn Javeri Jillani

In the early 2000s, when I was expecting my first child, I became acutely aware of ‘skin’. Not only had my skin stretched beyond imagination without splitting, but it had taken on a dark glow that made my brownness stand out amidst the light-skinned London neighbourhood I lived in. Pregnancy cravings for desi food meant that I made frequent trips to the nearby Asian area of Tooting, where I would often bump into elderly Asian aunties. These women would take one look at my pale-skinned husband and offer me sincere advice to drink milk with saffron so that the child may take after his father. I would jokingly retort that if milk made skin tone lighter, why would buffaloes be black? But afterwards, I would mull over these little ‘well-meaning’ acts of microaggression and wonder if my dark skin tone made me any less worthy.

I was reminded of this when, in the wake of the tragic killing of George Floyd and the resurgence of the Black Lives Movement, Unilever dropped the word ‘fair’ from its skin-lightening cream, ‘Fair & Lovely’. But if the idea was to support the fight against racism, why not just drop the skin-lightening cream? The answer lies in the complex tangle of colonialism and colourism — each a legacy of the other.  Like many African Americans who have varying skin tones due to the history of slavery and unfair sexual exploitation, many in South Asia, due to the advent of Persian and Central Asian invaders and later through the 200-year rule of the British, have complexions that range from chocolate brown to milky white. Read more »

by Anitra Pavlico

Lately I’ve been craving the music of French composer Maurice Ravel (1875-1937). As reality continues to be fraught, in the midst of a pandemic, social unrest, culture wars, and on and on, Ravel’s music offers an enticing escape. Described by his close friend, concert pianist Ricardo Viñes, as “inclined by temperament toward the poetic and fanciful,” Ravel created music that continues to captivate with its otherworldly beauty. Another reason for his appeal now, when the public health crisis has disrupted all of our quotidian rhythms, is that rhythm is the sine qua non of Ravel’s art. All you have to do is listen to Bolero, for which he is best known, to perceive this on a visceral level. And yet Ravel is much more than Bolero, as he would have been the first to tell you. He considered that piece more of an experiment or a gageure–a wager with himself that he could turn one musical phrase into an orchestral composition, and he referred to it as “orchestral tissue without music.” It consists of one main theme that is repeated and embellished throughout. Its genius lies in the orchestration. Ravel’s skills as an orchestrator, his devotion to rhythm, and his “passion for perfection,” in the words of biographer Madeleine Goss, are his enduring legacies. Read more »

Cat in the Domplatz in Brixen, South Tyrol, in June of 2015.

by Brooks Riley

Being Korean is a behavioral science all its own. There are formalities at all levels of society and potential affronts lurking in every social engagement. Ageism is set in stone, and in honorifics that define older or younger persons, friends, siblings and relatives, as well as differing levels of social standing. Personal humiliations are many and varied, some of them universally recognizable, some of them exclusive to Korea’s tight-knit family structures or evident hierarchies. It goes beyond how to address someone: How to drink soju, how to pour it for a superior, how to bow, when to bow, who to bow to, when to get down on your knees—the list goes on.

This is why the title of the magnificent Studio Dragon series My Mister is unable to quite capture the honorific implications of Ahjussi, a man who is one’s elder by at least 20 years, who may or may not be your uncle. No matter. Part of the pleasure of watching this Netflix series is marveling at the many ways that behavior is stratified without harming the spontaneity and pleasures of social interaction.

If there’s a double helix running through the Korean psyche, then it consists of two strands, han (한) and jeong (정) two concepts that seem to infuse Koreans with states of mind that their dark history of multiple occupations has delivered right to their genes. Read more »

by Katie Poore

Jeanine Cummins’ American Dirt is a string pulled so tightly it is on the verge, always, of snapping. It is like this from the first sentence, when our protagonist Lydia Quixano Alvarez’s 8-year-old son, Luca, finds himself in a rain of bullets while he uses the bathroom. By the second page, sixteen members of Lydia and Luca’s family are dead, murdered by the reigning drug cartel of Acapulco, Mexico.

I found American Dirt gripping, unrelentingly so. Every fifty pages I had to stop, breathe, do something else. It isn’t a book I could devour, mostly because I couldn’t stomach some of the endless grief it contained for more than an hour or two at a time. It felt grueling, and riveting, and so utterly foreign.

But American Dirt has, since before its release in January, been the subject of controversy and scrutiny, precisely because it is so utterly foreign, and because Cummins could not and has not undergone the traumas and trials of her protagonists. Cummins’ publisher, Flatiron Books, canceled her book tour due to the backlash. Read more »

by Timothy Don

The current economic crisis is crushing artists, museums, and galleries everywhere. In the San Francisco Bay Area, where I live, an exorbitant rental market made maintaining a practice difficult before this crisis hit. It’s even harder now. With 3QD’s permission, I’m going to use this column to talk about the work of some of the artists and art professionals I have met in the Bay Area. I ask you to support artists wherever you find them and however you can.

Roman Women XIII, by Sara VanDerBeek, 2013. Digital c-print, 66 x 47 3/4 in. From the series Roman Women.

A digitally manipulated and synthetically colored contemporary photograph of a sculptural object from classical-era Rome, this piece looks at first glance like a picture postcard, memento of a delightful afternoon spent at the Vatican museum. Look more closely, however: in subject matter and method, the work addresses and bridges in one stroke both the ancient world and our present moment. It projects the textures and patinas of the past onto the flat screens of the present, and it resituates that present as a way station on the journey through time of images and ideas, meanings and ideologies. It is both art and artifact.

We have become accustomed over the last several hundred years to an image of antiquity hewn from white marble: clean, harmonious, and transcendent; conceptually pure, flawlessly executed. In a word: Classical. Recent historical research, however, suggests that Roman statuary, along with the Greek originals that it copied, was polychromatic, embellished, and almost luridly vibrant. Sara VanDer Beek recalls this aspect of classical art by saturating her photograph with a shade of violet approaching Tyrian purple. She reminds us that classical doesn’t mean white. Classical was colorful.

Her aim, however, is not merely to introduce visual facticity to the historical record. This is a photograph of a copy of a lost original. It is the top layer in a stack of reproducible objects, evidence of the layering effect of and through which history is composed. This picture is then-and-now, uniquely contemporary in its utilization of present-day technologies of representation, archival in its reinscription of that technology within a geneology of visual representation dating back to the birth of western civilization. This piece accomplishes the same movement (from past to present and back again) with regard to its subject matter: the human female form. Read more »

by Ali Minai

“I’ll just google it again”, said my daughter when I asked her to remember something. It was a very reasonable suggestion, but it led me down an interesting line of thought about the nature of knowing and its recent transformation. Much has been said and written about how the Internet has changed human knowledge, in both positive and negative ways. The positives are obvious. The magic of the Internet, the World-Wide Web, and utilities such as Google and Wikipedia, have put enormous knowledge at our disposal. Now any teenager with a smartphone has effortless access to far more information than the greatest minds of a century ago. Even more importantly, the Internet has opened up vast new possibilities of learning from others, and allowed people to share ideas in ways that were unimaginable until recently. Not surprisingly, all this has led to a great flowering of knowledge and creativity – though, unfortunately, not without an equally great multiplication of error and confusion.

In terms of negative consequences, perhaps the most widely explored idea is that of epistemic bubbles – closed informational ecosystems enabled by social media connecting largely like-minded individuals. With little external input and minimal internal dissent, people in such bubbles can quickly fall prey to outlandish beliefs without the possibility of correction. The hazard of epistemic bubbles is compounded by the Internet’s facilitation of false information – fake news, so to speak. Of course, neither epistemic bubbles nor false information is new, but the Internet has supercharged both by lowering the barriers to entry so far that random TikTok personalities and Twitter ideologues can have a degree of influence that was previously reserved for a small, better-informed elite. On the positive side, this democratization of information has broken through the systematic indoctrination that elites have imposed on societies throughout history. At the same time, it has also led to an unprecedented undermining of facts and the disintegration of a shared experience of reality. But my concern in this article is with a more subtle, well-known – but perhaps insufficiently understood – effect of the Internet on human knowing: The externalization of knowledge and its consequences for creative thought. Read more »

by Fabio Tollon

You’ve heard about AI. Either it’s coming for your job (automation), your partner (sex robots), or your internet history (targeted adverts). Each of the aforementioned represent very serious threats (or improvements, depending on your predilections) to the economy, romantic relationships, and the nature of privacy and consent respectively. But what exactly is Artificial Intelligence? The “artificial” part seems self-explanatory: entities are artificial in the sense that they are manufactured by humans out of pre-existing materials. But what about the so-called “intelligence” of these systems?

Our own intelligence has been an object of inquiry for human beings for thousands of years, as we have been attempting to figure out how a collection of bits of matter in motion (ourselves) can perceive, predict, manipulate and understand the world around us. Artificial Intelligence, as eloquently surmised by Keith Frankish and William Ramsey, is

“a cross-disciplinary approach to understanding, modeling, and replicating intelligence and cognitive processes by invoking various computational, mathematical, logical, mechanical, and even biological principles and devices.”

AI attempts not just to understand intelligent systems, but also to build and design them. Interestingly enough, it may be the case that we could in fact design and build an “intelligent” system without understanding the nature of intelligence at all. Important to keep in mind here is the distinction between narrow (or domain specific) and broad (or general) AI. Narrow AI are systems that are optimized for performing one specific task, whereas broad AI systems aim at replicating (and surpassing) many (if not all) capacities associated with human intelligence. Read more »

“Time is a static in the mind.”—Malachi Black, poet

Timesea

In the days when there were bona fide summers
when months were loyal to the expected,

when they stayed more or less within their lanes,
December not copping the joys of July, for instance,

when seasons honored tradition and did not
insist on mukluks in June or ban January snow,

time (though always mercurial) made sense,
or at least we’d trimmed its arrogant sails

whose masts and spars, like antennae,
we trained to troll timesea for wind steady enough

to give clear chronometric reception —something to rely upon.
But time has always ebbed and flowed like tides, it fell

and rose random as waves, so we concocted clocks
to lock time’s fundamental pace, the regularity of its sine.

But time is simultaneously as un-pin-downable
as background noise, a universally evasive
static in the mind
.

by N. Gabriel Martin

Perhaps there is no greater testament to the triumph of individualism than the pro-gun slogan “Guns don’t kill people, people kill people.” It takes an extremely narrow conception of responsibility to deny that lax gun laws are to blame for high rates of gun violence, but that view is pervasive anyway. Now, however, the Black Lives Matter movement is drawing broad popular attention to the fundamentally systemic character of racism, and giving us an opportunity to overthrow individualism.

Individualism stands in the way of serious public debate about many of our most serious social and political problems—from gun control to the erosion of public infrastructure and the racial wealth gap. That’s because it makes the onerous demand that in order to identify a problem, you’ve also got to find out who is responsible. F. A. Hayek, one of the principle architects of this ideology, put it like this: “Since only situations which have been created by human will can be called just or unjust, the particulars of a spontaneous order cannot be just or unjust: if it is not the intended or foreseen result of somebody’s action… this cannot be called just or unjust.”[i]

According to Hayek, complaining about a circumstance for which no one is entirely to blame is like complaining about the weather. It isn’t enough to point to some inequality, such as the gender pay gap, to recognise it as a social problem that we should try to correct. We can identify it as a fact, but in order to see that it is a problem, you have to find a culprit. Otherwise, doing something that alters it would actually be unjust (it might take money away from men, or take autonomy away from corporations).

The result is that we can prosecute the person who pulled the trigger, after they have already killed, but we’re powerless to do anything to stop the next gunman. Read more »

by Charlie Huenemann

By 2025, protective living communities (PLCs) had started to form. The earliest PLCs, such as New Promise and New New Babylon, based themselves on rationalist doctrines: decisions informed by best available science, and either utilitarian ethics or Rawlsian principles of justice (principally, respect for individual autonomy and a concern to improve the lives of those most disadvantaged). Membership in these communities was exclusive and tightly guarded, and they had the advantage of the relatively higher levels of wealth controlled by their members. 

One such community, New Promise, began as a complex of buildings 60 miles outside of Moab, Utah. These buildings included living accommodations, a central meeting hall/library/theater, a food market, a health care station, and a network of gardens and walking trails, along with infrastructure buildings such as a water reclamation plant and a solar power station. Nearly all of its residents are able to work from home. Visitors are allowed only after a medical screening, and new members are admitted only after a rigorous screening process. Community dues are set at one-third of income, and the community is managed by a board of seven elected officials. There are two recorded instances of families being evicted from the original New Promise, in each case because, in the view of the governing board, they were not willing to abide by the decisions of the community.

New Promise offers a high standard of living and a buffer against both disease and political instability. In exchange, the community requires individuals to subordinate their own interests to those of the community. Applicants with strong religious or political ideologies are not admitted. Its members are typically highly-educated workers in technology, education, or business. “In New Promise you are free to do as you please,” said one member, “so long as what you’re doing doesn’t make anyone else miserable.” Read more »

by Joan Harvey

Let’s face it, I’m tired. A phrase completely knotted up in the rather damaged circuitry that is my brain with Madeline Kahn in Blazing Saddles who managed to out-Dietrich Dietrich while being her own amazing self (if you haven’t watched this in at least the past few days you probably should). But, for better or worse, unlike Kahn, my tiredness is not from thousands of lovers coming and going and going and coming and always too soon.

But I digress. Tiredness is a digression from normal life. Repeated rounds of tiredness have been one of the leftovers people have reported experiencing from Covid-19, and, as I looked into it, from other viruses as well. I doubt I had Covid-19, but I did get very ill after flying back from NYC in late January and I’ve been struggling with recovery ever since. The tricky thing, the thing that really sucks, is that whereas with most bouts of tiredness one can recover relatively quickly and start normal physical activity, with this post-viral business, even tiny amounts of exercise can deplete one so much that only days of total rest really help. And, though I have past experience with this, I’m still not particularly well trained for it. The bigger problem, for me as well as others with this type of fatigue, is that one can feel fine during exercise, and then afterward become, as I have been, completely exhausted and shaky for days. As a pamphlet describing post-viral fatigue puts it, “Doing too much on a good day will often lead to an exacerbation of fatigue and any other symptoms the following day. This characteristic delay in symptom exacerbation is known as post-exertional malaise (PEM).” Read more »

by Brooks Riley

by Callum Watts

I worry. Asking someone out, speaking in public, stepping onto a flight, for me these mundane moments percolate with anxiety. These are personal fears, inner battles of no real relevance to the wider world and disconnected from any broader social meaning. Over the past couple of years though, I have had two experiences of fear that were both personal and political. I was caught in a terrorist attack and was struck down with covid-19 during the global pandemic. In each case the fear of death echoed bone deep within me, and in each case that fear reverberated through the body politic and society. What interests me is the political aims for which that fear can be harnessed and the authenticity of the use of that fear. I don’t believe that we should be stoking fear for political ends, but we cannot escape the fact that our fears are already in the political arena, and so we must learn to live with them.

Picture a warm summer night in London’s bustling Borough Market. I’m enjoying one of those endless evenings of conversation, eating and drinking with my family. My sister has just left early to meet some friends, when all of a sudden running, scuffling and shouting can be heard. It’s difficult to explain why, but a certain franticness in the movement and a strident tone to the shouts make my blood run cold. My whole body freezes and a tension forms in my chest, like a knot being pulled tight. Then as screams and shouts mingle with gun fire and things smashing, the knot dissolves as adrenaline courses through me. I’m alert, focussed, prepared to take control and spring into action. Months later, that initial stab of fear would still occasionally manifeste and get my adrenaline pumping. This could be triggered by being in a public space or on public transport, a loud noise, or by the memory of someone bleeding out on the floor. These fears were mine, yet they quickly became absorbed into a wider debate. Read more »

Mother Writes to the ‘Lion of Kashmir,’ Long Deceased

February 2020
Dear Sheikh Sahib,

They tell me,
you are buried on the left bank of Naseem lake with views
of Hazratbal shrine, your tomb guarded by India’s troops.

I tell them,
this represents one of those paradoxes’ history keeps throwing
up: the same people who jailed you for many years now guard
your tomb and the same people whose ‘Lion’ you were are un-
happy with you for throwing their lot with the illiberal Pandit
Nehru who strung up Kashmir on the flagpole of secularism.

The world approved, but for decades the Congress Party
did to Kashmir by night what today the BJP is doing by light.

Sheikh Sahib, in your heart of hearts, you must have known
that we the Muslims of Kashmir struck at the core of Hindu
nationalist idea of Akhand Bharat, united, undivided India
from Afghanistan to Myanmar Thailand Cambodia and Laos. Read more »

by Joshua Wilbur 

There are times when I can’t look away from The Avenue at Middelharnis. 

Completed in 1689 by the Dutch Golden Age artist Meindert Hobbema, the painting has entranced viewers for centuries. The English landscapists of the Romantic period admired and emulated its unusual composition. A young Van Gogh saw The Avenue in London’s National Gallery in 1884. “Look out for the Hobbema,” he would later write in a letter to his brother Theo. René Magritte allegedly produced forgeries of Hobbema’s paintings, and his Empire of Light seems to me a surreal reinterpretation of the Dutch master’s masterwork. 

I say that I can’t look away from the painting because I set it as my computer’s background a few months ago. Artsy, I know. I see The Avenue a few times a day, usually in browser-obscured flashes. Sometimes I’ll push everything aside and just space out into it. 

The painting is a great example of an “open” work of art. As described by Umberto Eco, open works encourage multiple interpretations and respond to the viewer’s evershifting historical situation, stage in life, or mood. If closed creations communicate one thing, open works communicate many things. They meet us where we are. I should say something about where I am and where we are before going further down The Avenue.  Read more »