Also by way of The Late Adopter: With Edward Hopper as his (original) inspiration, photographer Richard Tuschman conjures up evocative Hopper-style photos using dioramas and Photoshop. “I have always loved the way Hopper’s paintings, with an economy of means, are able to address the mysteries and complexities of the human condition,’ Tuschman wrote in his statement about the work.”
In Slate, Ben Blatt uses pattern mapping to pre-determine Waldo’s whereabouts. But don’t think all the conundrums are solved just yet. “[This] leaves a more intriguing question left unanswered: Why is Waldo there? Why, Waldo? Why are you so likely to hide in these two narrow bands? Why are you rarely at the edges of the page? Why are you rarely in the middle of the page? Why, Waldo?”
In Foreign Affairs, Henry Farrell and Martha Finnemore argue that, as a result of whistleblowing, the US is “no longer able to rely on easy hypocrisy“ in our foreign policy. “Secrecy can be defended as a policy in a democracy. Blatant hypocrisy is a tougher sell. Voters accept that they cannot know everything that their government does, but they do not like being lied to.”
Note: The link is behind a paywall, but Digby has an excerpt and thoughts up, as does Farrell in the Washington Post. This also reminds me of Neal Stephenson’s Neo-Victorians in The Diamond Age, which I presume is the tack a defender of our obvious diplomatic double-standards would take: “That we occasionally violate our own stated moral code…does not imply that we are insincere in espousing that code.”
This has been languishing in the bookmarks for awhile: Artist Simon Stålenhag depicts a Scandinavian future that never was. “As he explains to The Verge, “The only difference in the world of my art and our world is that…ever since the early 20th century, attitudes and budgets were much more in favor of science and technology.’” [More available at Stålenhag's website.]
Remember the Heroes: After some kerfuffle, Detroit — where Superman and Batman will soon be duking it out — is on the verge of getting its Kickstarter-funded Robocop statue. “‘Robocop has become a very suitable icon to represent Detroit, and deserves a place in this city’s history,’ their Facebook event page, started over two years ago, still reads. ‘As Detroit continues to redefine itself into the 21st century—please help to truly make this the coolest city on earth.’”
He passed in May but I found out this week via my sister’s new Twitter feed: Frederic Franklin, 1914-2013. Up until very recently, you could still Franklin on the ABT stage, as the priest in Romeo and Juliet and similar roles. For Gill as for many other contemporary dancers who got to know him, he was a living link to an earlier generation of ballet. And, if you’ve seen the splendid documentary Ballets Russes, he was a lively and engaging wit as well, with a long life of stories to tell. RIP.
The Roots on New Years’ Eve notwithstanding, I’ve been derelict about posting on live entertainment I’ve seen this year, like Louis CK in Baltimore, The Motherf**ker with the Hat at Studio Theater, The Last Five Years in Shirlington, Dean Fields in Arlington and The Postal Service at Merriweather Post.
All that being said, since there’s an especially clear precedent here — 1, 2, 3, 4, 5, 6, 7, 8, 9 — I shouldn’t neglect to mention I caught my tenth Dylan show two weeks ago, as part of the Americana Music Festival (with Ryan Bingham, My Morning Jacket, and Wilco). Here’s the setlist:
Things Have Changed | Love Sick | High Water (For Charley Patton) | Soon After Midnight | Early Roman Kings | Tangled Up In Blue | Duquesne Whistle | She Belongs To Me | Beyond Here Lies Nothin’ | A Hard Rain’s A-Gonna Fall | Blind Willie McTell | Simple Twist Of Fate | Thunder On The Mountain | All Along The Watchtower | Ballad Of A Thin Man
Perhaps it’s because the setlists are fluctuating less this tour, or he’s playing a shorter set, or he’s just inspired by the bands he’s touring with, but this was actually the best I’ve heard Bob sound in awhile. He seemed animated and his voice, while always gravelly these days, sounded more mellifluous than it’s been in many a moon. “Things Have Changed” and “Ballad of a Thin Man” are always favorites, but the highlight for me this time around was finally catching Blind Willie McTell live — You can see it as well above, thanks to Joanna’s Visions.
Also, due to the vagaries of having a job and all that — the festival started at 4:30pm over in Columbia, MD — we missed Ryan Bingham’s set and all but the last song of My Morning Jacket, but here was the evening for the Wilco-inclined (who were also very good):
Ashes of American Flags | Bull Black Nova | Blood of the Lamb | Christ for President | I Am Trying to Break Your Heart | Art of Almost | Jesus, Etc. | Can’t Stand It | Born Alone | Passenger Side | I Got You (At the End of the Century) | Heavy Metal Drummer | I’m the Man Who Loves You | Dawned on Me | A Shot in the Arm | The Lonely 1
Speaking of the Knicks: On the eve of Behind the Candelabra (this Sunday on HBO), Steven Soderbergh — still ostensibly retired from feature filmmaking — is set to direct 10-hours of a period hospital drama, The Knick, for Cinemax, with Clive Owen.
As a hobby, apparently, he’s also gotten into the film cognoscenti hipster t-shirt business. “While designing the shirts, Soderbergh told Reuters, ‘I would test them out by wearing them to the set to see if people knew the movie references.’” Citizen Kane aside, most of them are pretty esoteric. (Second link via The Late Adopter.)
This reminds me – I didn’t post it earlier because the trailer was so drab, but Julian Fellowes of Downton Abbey has also brought forth another version of Romeo and Juliet, with Hailee Steinfeld, Douglas Booth, Damien Lewis, and Paul Giamatti. Steinfeld was a real find in True Grit, but I’m otherwise not seeing the point of this.
Update: Along the same lines, here’s a Kickstarter for The Littlest Lovecraft, a child’s illustrated edition of The Call of Cthulhu.
The Atlantic‘s Jordan Weissman takes another gander at the sorry state of the PhD life in America, with an emphasis on the sciences. “The pattern reaching back to 2001 is clear — fewer jobs, more unemployment, and more post-doc work — especially in the sciences. A post doc essentially translates into toiling as a low-paid lab hand.”
Note also the dismal situation of the humanities in the graph below. The average salary for a humanities PhD is not only less than I’m making in speechwriting these days — it’s less than what I was making in 2001, before I went off for grad school. It’s also less, or at the very least comparable, to the average salary of a public school teacher in America — a job where you’re probably much more likely to make a difference in the lives of your students. But hey, check out the big brain on me.
The upshot here, at least for the humanities? It’s generally a bad idea to spend a decade apprenticing yourself to a job that barely even exists anymore.
Update: “Let me start with the bad news. It is not even news anymore; it is simply bad. Graduate education in the humanities is in crisis. Every aspect, from the most specific details of the curriculum to the broadest questions about its purpose, is in crisis. It is a seamless garment of crisis: If you pull on any one thread, the entire thing unravels.” Literature professor Michael Bérubé surveys the sad state of affairs in the Chronicle of Higher Education.