Henry Kissinger at 100: Still a War Criminal | Mother Jones
Throughout his career in government and politics, Kissinger was an unprincipled schemer who engaged in multiple acts of skullduggery.
Henry Kissinger at 100: Still a War Criminal | Mother Jones
Throughout his career in government and politics, Kissinger was an unprincipled schemer who engaged in multiple acts of skullduggery.
The Colorado River Is Shrinking. See What’s Using All the Water. | The New York Times
The majority of the water in the Colorado River basin — more than one trillion gallons — is used to grow feed for livestock, connecting the region’s water crisis to how much dairy and meat we eat.
Students of music have to understand that when they are playing, somebody is hearing. If there is nobody there, well, G-d is hearing you then.
Why Do We Listen to Sad Songs? | The New York Times
This is the paradox of sad music: We generally don’t enjoy being sad in real life, but we do enjoy art that makes us feel that way.
A Few Thoughts on Quentin Tarantino’s Plan to Retire | The New Yorker
Soderbergh knows one big thing, the cinema itself; for him, cinema is everywhere, and it speaks through him no matter what he does. Tarantino has a huge toy chest of knowledge and enthusiasm, an amazing collection of movies from the history of cinema stocked up in his mind; he gives their multiplicity the unity of his voice, his personality, his public image, and he is, so to speak, their delegate, their representative. Soderbergh has an idea of cinema; Tarantino has ideas about individual movies, which is why each one that he makes counts, why each matters so desperately. Soderbergh risks insignificance, merely vanishing; Tarantino risks the illusion of significance, being a nuisance. Soderbergh escaped from Hollywood in order to evade its limitations; Tarantino’s planned escape seems meant to evade his own. The very fear of risk, the sense of pride and even vanity with which he protects his name, could stand as the ultimate form of self-criticism.
I’ve never liked Taratino’s films very much but his stature at the end of 20th century cinema is great, and that time, from roughly 1985–2000 as far as I can tell, was more or less the end of cinema as we knew it, a material art, a physical process, an international conceit, high culture in spite of its commercial interests. Brody’s exposition of Soderbergh rings entirely true for me, as does his reading of Tarantino.
Fate has problems.
— Hollis Frampton
Imagining an Alternative to AI-Supercharged Capitalism | Kottke.org
“Social-media companies use machine learning to keep users glued to their feeds. In a similar way, Purdue Pharma used McKinsey to figure out how to ”turbocharge“ sales of OxyContin during the opioid epidemic. Just as A.I. promises to offer managers a cheap replacement for human workers, so McKinsey and similar firms helped normalize the practice of mass layoffs as a way of increasing stock prices and executive compensation, contributing to the destruction of the middle class in America.” – Ted Chiang
Very happy to see that Laura Olin has resumed her newsletter. It’s always got something worth knowing, and her tone is inspiring, playful, compassionate. One of my favorites.