May 2013 – Page 3 – artdiamondblog.com

The Process of Picking a Pope

Source of book image: http://yalepress.yale.edu/yupbooks/images/full13/9780300115970.jpg

(p. C3) The popes appointed by the German Holy Roman Emperor Henry III in the early 11th century were . . . unconventional but . . . edifying. Determined to purge the corruptions of Rome, Henry personally appointed four outstanding popes, reformers to a man, all of them Germans. The greatest of them, St. Leo IX (1049-1054), arrived in Rome as a barefoot pilgrim and was the first pope to travel widely through Europe, stirring local bishops to tackle corruption and undertake renewal.

Henry III’s German popes ended the tradition that the Bishop of Rome had to be a local man, and medieval conclaves chose popes from the small but international College of Cardinals. Exceptions to this rule were seldom a success.
The most notorious case was St. Celestine V (1294), an 85-year-old hermit and visionary from Naples chosen in the hope that an “angelic Pope” would free the papacy from its financial and political entanglements. But the old man was hopelessly incompetent and easily swayed by forceful politicians. After only six months, he was badgered into resigning by Cardinal Benedetto Caetani, who succeeded him as Boniface VIII and promptly imprisoned him.
The experiment of electing a non-cardinal was tried again in 1378. After a run of seven French popes based in Avignon, the Roman mob demanded an Italian. Sixteen terrified cardinals obliged by electing Urban VI. A distinguished administrator as Archbishop of Bari, Urban VI was unhinged by his elevation. Aggressively paranoid, he alienated all supporters and appears to have murdered five of his cardinals. The French cardinals elected a rival pope, who returned to Avignon, starting a schism that would last a generation.

For the full commentary, see:
EAMON DUFFY. “When Picking A Pope Was A Perilous Affair.” The Wall Street Journal (Sat., February 16, 2013): C3.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date February 15, 2013.)

Duffy’s related book, is:
Duffy, Eamon. Saints and Sinners: A History of the Popes. Third ed., Yale Nota Bene. New Haven, CT: Yale University Press, 2006.

Stem-Cell Researchers Developing Experimental Personalized Medicine

(p. C4) Last month a team at Johns Hopkins University and the Sloan-Kettering Institute for Cancer Research, using a version of Dr. Yamanaka’s technique, successfully grew nerve cells from a patient suffering from a rare disease called Riley-Day syndrome, which is linked to early mortality, seizures and other symptoms and caused by a fault in one gene.
But the purpose was not to put these cells back into the patient. Instead the scientists tested 6,912 chemical compounds on the cells to see if they could find one that “rescued” the “expression” of the gene: that is to say, caused it to produce the protein it is supposed to produce. One of the compounds worked, inducing the gene to be actively transcribed by the cell.
In the not-very-distant future, when something is going wrong in one of your organs, one treatment may be to create some stem cells from your body in the laboratory, turn them into cells of that organ, or even rudimentary structures, and then subject them to experimental treatments to see if something cures the problem. The goal of personalized medicine, in other words, may be reached by stem-cell researchers before it’s reached by geneticists.

For the full commentary, see:
MATT RIDLEY. “MIND & MATTER; Stem-Cell Cures Without the Controversy.” The Wall Street Journal (Sat., December 8, 2012): C4.
(Note: the online version of the commentary has the date December 7, 2012.)

Sometimes There Are Second Acts in American Lives

“In the foreground, Ian Wolfe, Charles Laughton and Clark Gable in 1935’s ‘Mutiny on the Bounty.'” Source of caption and photo: online version of the WSJ article quoted and cited below.

(p. D10) In 1947 Charles Laughton’s career, if not quite on the skids, was definitely in the doldrums. Long acclaimed as Hollywood’s foremost character actor, he had made only one film of any artistic consequence, Jean Renoir’s “This Land Is Mine,” in the past seven years. The rest of the time he coasted, frequently indulging in self-parody–and nobody was easier to spoof than the man who played Captain Bligh in “Mutiny on the Bounty” and Quasimodo in “The Hunchback of Notre Dame.” He wouldn’t have been the first actor to sell his soul for a swimming pool (or, in his case, an art collection). But with Mr. Laughton the waste would have been unforgivable, since he was, in Laurence Olivier’s words, “the only actor I ever knew who was a genius.”

Instead, Mr. Laughton fooled everyone by returning to the stage for the first time since 1936. Nor did he choose a safe star vehicle for his return: He played the title role in the U.S. premiere of Bertolt Brecht’s “Galileo,” and he translated the play himself.
. . .
Except for “The Night of the Hunter,” Mr. Laughton’s post-“Galileo” career is no longer widely remembered save by scholars. But enough of it survives on sound recordings and kinescopes to prove that F. Scott Fitzgerald was all wet when he claimed that “there are no second acts in American lives.” Charles Laughton, who moved from England to America to seek fame and fortune and came perilously close to losing his soul along the way, had a second act that redeemed all that came before it. No actor could ask for a better curtain.

For the full commentary, see:
TERRY TEACHOUT. “SIGHTINGS; Charles Laughton’s Late Bounty.” The Wall Street Journal (Fri., March 2, 2012): D10.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date March 1, 2012.)

You Can Buy a New Flint Knife or Stone Ax

(p. 55) Let’s take the oldest technology of all: a flint knife or stone ax. Well, it turns out you can buy a brand-new flint knife, flaked by hand and carefully attached to an antler-horn handle by tightly wound leather straps. In every respect it is precisely the same technology as a flint knife made 30,000 years ago. It’s yours for fifty dollars, available from more than one website. In the highlands of New Guinea, tribesmen were making stone axes for their own use until the 1960s. They still make stone axes the same way for tourists now. And stone-ax aficionados study them. There is an unbroken chain of knowledge that has kept this Stone Age technology alive. Today, in the United States alone, there are 5,000 amateurs who knap fresh arrowhead points by hand. They meet on weekends, exchange tips in flint-knapping clubs, and sell their points to souvenir brokers. John Whittaker, a professional archaeologist and flint knapper himself, has studied these amateurs and estimates that they produce over one million brand-new spear and arrow points per year. These new points are indistinguishable, even to experts like Whittaker, from authentic ancient ones.

Source:
Kelly, Kevin. What Technology Wants. New York: Viking Adult, 2010.

Imagining Oscar Wilde’s 1882 Visit to Omaha

Source of image: http://images.amazon.com/images/P/1451617585.01.LZZZZZZZ.jpg

(p. 10) Hansen’s first collection, “Nebraska,” which appeared in 1989, was a work that in its wrought realism, its ways of culling grim beauty from the often harsh history of his native place, achieved a memorable intensity. “She Loves Me Not” republishes seven of those stories, but to suggest that he’s recycling would miss the larger point. Instead, he has used this early work as the basis for what becomes a very different, exploded, view of a place. In these pages, Nebraska — Omaha in particular — is both rendered and reappropriated, registered and riffed on through a range of tonalities.

The first story, “Wilde in Omaha,” is, as its title suggests, a playful reimagining of Oscar Wilde’s actual visit to that city in March of 1882. Recounted by a bumbling, fame-besotted journalist, the British writer’s short stay among the arts-avid, cornfed Nebraska bourgeoisie becomes a delightful anthology of some of this famed raconteur’s best bits. For Wilde will make no conversational response to any question that isn’t an epigram, as often as not a well-known one. Hansen’s setup lines can be almost groaningly obvious. When a Mr. Rosewater of The Daily Bee asks him, apropos of nothing, “Are you a hunter?” Wilde gets to deliver one of his celebrated bons mots: “Are you asking if I gallop after foxes in the shires? Indeed not. I consider that the unspeakable in pursuit of the uneatable.” Didn’t Monty Python run a similar shtick some years before? They did. But Hansen isn’t pretending otherwise.
“Wilde in Omaha” is followed by a string of stories from the “Nebraska” collection, and what a shift it is to go from that highly arch patter to the cruel horror of the blizzard of 1888 — a mere six years, but in terms of the circuit of human experience the very antipodes. “Wickedness” consists of a series of episodic encounters of farm people and townspeople with the completely unexpected — and unprecedented — storm. It’s mainly a catalog of last hours and final moments, but the detailing, the staging, is unsurpassed. Every moment is fully imagined. “A tin water pail rang in a skipping roll to the horse path.” A wife who has gone out to look for her husband is found “standing up in her muskrat coat and black bandanna, her scarf-wrapped hands tightly clenching the top strand of rabbit wire that was keeping her upright, her blue eyes still open but cloudily bottled by a half inch of ice, her jaw unhinged as though she’d died yelling out a name.”

For the full review, see:
SVEN BIRKERTS. “Odes to Omaha.” The New York Times Book Review (Sun., November 11, 2012): 10.
(Note: the online version of the review has the date November 9, 2012.)

Currently Possible Inventions Are Not Inevitable; Someone Must Think of Them and Make Them Happen

(p. C4) . . . some inventions seem to have occurred to nobody until very late. The wheeled suitcase is arguably such a, well, case. Bernard Sadow applied for a patent on wheeled baggage in 1970, after a Eureka moment when he was lugging his heavy bags through an airport while a local worker effortlessly pushed a large cart past. You might conclude that Mr. Sadow was decades late. There was little to stop his father or grandfather from putting wheels on bags.
Mr. Sadow’s bags ran on four wheels, dragged on a lead like a dog. Seventeen years later a Northwest Airlines pilot, Robert Plath, invented the idea of two wheels on a suitcase held vertically, plus a telescopic handle to pull it with. This “Rollaboard,” now ubiquitous, also feels as if it could have been invented much earlier.
Or take the can opener, invented in the 1850s, eight decades after the can. Early 19th-century soldiers and explorers had to make do with stabbing bayonets into food cans. “Why doesn’t somebody come up with a wheeled cutter?” they must have muttered (or not) as they wrenched open the cans.

For the full commentary, see:
MATT RIDLEY. “MIND & MATTER; Don’t Look for Inventions Before Their Time.” The Wall Street Journal (Sat., September 15, 2012): C4.
(Note: ellipsis added.)
(Note: the online version of the commentary has the date September 14, 2012.)

In Latvia Deep Budget Cuts Lead to High Economic Growth

“A worker cleaned equipment at a new dairy factory outside Riga. The I.M.F. has hailed Latvia for its deep budget cuts.” Source of caption and photo: online version of the NYT article quoted and cited below.

It is interesting that the New York Times photographer (see above) chose to display the Latvian economic success story in bleak shades of grey and darkness.

(p. A1) RIGA, Latvia — When a credit-fueled economic boom turned to bust in this tiny Baltic nation in 2008, Didzis Krumins, who ran a small architectural company, fired his staff one by one and then shut down the business. He watched in dismay as Latvia’s misery deepened under a harsh austerity drive that scythed wages, jobs and state financing for schools and hospitals.

But instead of taking to the streets to protest the cuts, Mr. Krumins, whose newborn child, in the meantime, needed major surgery, bought a tractor and began hauling wood to heating plants that needed fuel. Then, as Latvia’s economy began to pull out of its nose-dive, he returned to architecture and today employs 15 people — five more than he had before. “We have a different mentality here,” he said.
. . .
Hardship has long been common here — and still is. But in just four years, the country has gone from the European Union’s worst economic disaster zone to a model of what the International Monetary Fund hails as the healing properties of deep budget cuts. Latvia’s economy, after shriveling by more than 20 percent from its peak, grew by about 5 percent last year, making it the best performer in the 27-nation European Union. Its budget deficit is down sharply and exports are soaring.

For the full story, see:
ANDREW HIGGINS. “Used to Hardship, Latvia Accepts Austerity, and Its Pain Eases.” The New York Times (Weds., January 2, 2013): A1 & A6.
(Note: ellipsis added.)
(Note: the online version of the story has the date January 1, 2013.)

Steam-Powered Cars Show that Old Technologies Rarely Totally Disappear

(p. 53) In my own travels around the world I was struck by how resilient ancient technologies were, how they were often first choices where power and modern resources were scarce. It seemed to me as if no technologies ever disappeared. I was challenged on this conclusion by a highly regarded historian of technology who told me without thinking, “Look, they don’t make steam-powered automobiles anymore.” Well, within a few clicks on Google I very quickly located folks who are making brand-new parts for Stanley steam-powered cars. Nice shiny copper valves, pistons, whatever you need. With enough money you could put together an entirely new steam-powered car. And of course, thousand of hobbyists are still bolting together steam-powered vehicles, and hundreds more are keeping old ones running. Steam power is very much an intact, though uncommon, species of technology.

Source:
Kelly, Kevin. What Technology Wants. New York: Viking Adult, 2010.
(Note: italics in original.)

Organic Animals Cause More Global Warming than Non-Organic Animals

Source of book image: http://si.wsj.net/public/resources/images/OB-EH374_justfo_DV_20090821150506.jpg

(p. A23) Grass-grazing cows emit considerably more methane than grain-fed cows. Pastured organic chickens have a 20 percent greater impact on global warming. It requires 2 to 20 acres to raise a cow on grass. If we raised all the cows in the United States on grass (all 100 million of them), cattle would require (using the figure of 10 acres per cow) almost half the country’s land (and this figure excludes space needed for pastured chicken and pigs). A tract of land just larger than France has been carved out of the Brazilian rain forest and turned over to grazing cattle. Nothing about this is sustainable.

Advocates of small-scale, nonindustrial alternatives say their choice is at least more natural. Again, this is a dubious claim. Many farmers who raise chickens on pasture use industrial breeds that have been bred to do one thing well: fatten quickly in confinement. As a result, they can suffer painful leg injuries after several weeks of living a “natural” life pecking around a large pasture. Free-range pigs are routinely affixed with nose rings to prevent them from rooting, which is one of their most basic instincts. In essence, what we see as natural doesn’t necessarily conform to what is natural from the animals’ perspectives.

For the full commentary, see:
JAMES E. McWILLIAMS. “The Myth of Sustainable Meat.” The New York Times (Fri., April 13, 2012): A23.
(Note: the online version of the commentary has the date April 12, 2012.)

McWilliams’ book on related issues, is:
McWilliams, James E. Just Food: Where Locavores Get It Wrong and How We Can Truly Eat Responsibly. New York: Little, Brown and Company, 2009.

Cultural Impact of Industrial Design Is Greater than Cultural Impact of Fine Arts

(p. C3) Capitalism has its weaknesses. But it is capitalism that ended the stranglehold of the hereditary aristocracies, raised the standard of living for most of the world and enabled the emancipation of women. The routine defamation of capitalism by armchair leftists in academe and the mainstream media has cut young artists and thinkers off from the authentic cultural energies of our time.
Over the past century, industrial design has steadily gained on the fine arts and has now surpassed them in cultural impact. In the age of travel and speed that began just before World War I, machines became smaller and sleeker. Streamlining, developed for race cars, trains, airplanes and ocean liners, was extended in the 1920s to appliances like vacuum cleaners and washing machines. The smooth white towers of electric refrigerators (replacing clunky iceboxes) embodied the elegant new minimalism.
“Form ever follows function,” said Louis Sullivan, the visionary Chicago architect who was a forefather of the Bauhaus. That maxim was a rubric for the boom in stylish interior décor, office machines and electronics following World War II: Olivetti typewriters, hi-fi amplifiers, portable transistor radios, space-age TVs, baby-blue Princess telephones. With the digital revolution came miniaturization. The Apple desktop computer bore no resemblance to the gigantic mainframes that once took up whole rooms. Hand-held cellphones became pocket-size.

For the full commentary, see:
Paglia, Camille. “How Capitalism Can Save Art; Camille Paglia on why a new generation has chosen iPhones and other glittering gadgets as its canvas.” The Wall Street Journal (Sat., October 6, 2012): C3.
(Note: the online version of the commentary has the date October 5, 2012.)