Critics who don’t buy this also don’t buy this [via bloggy]
I guess if the Observer isn’t going to have art critics whose recommendations ever make sense, at least they can have critics whose pans are consistent signals of worthwhile shows.
Author: greg
Jocelyn Bell, the woman who discovered pulsars
After discovering an inexplicable pulsing signal (a “sniggling quarter inch” blip that showed up for 5 min/day) in her PhD radio astronomy data (thousands of feet of paper charts) at Cambridge, Jocelyn Bell and her adviser Tony Hewish, wondered if it was a stellar phenomenon or some man-made interference. If the signal was indeed real, its source was unknown to science at that time. They took to calling it “little green men.”
There was a meeting just beofre Christmas 1967 which I stumbled upon. I went down to Tony’s office to ask him something and unusually, the door was shut. I knocked and a voice said, “Come in.” I stuck my head around the door and Tony said “Ah, Jocelyn, come in and shut the door.” So I went in and shut the door. It was a discussion between Tony Hewish (my supervisor), Martin Ryle (the head of the Group), and probably John Shakshaft (one of the other senior members of the Group). The discussion was along the lines of “how do we publish this result?”
Then the night before leaving for Christmas break, Bell locked herself in the lab, pored over her data, and found another signal in another part of the sky, confirming that the signal was not caused by human interference.
I went off on holiday and came back to the lab wearing an engagement ring. That was the stupidest thing I ever did. In those days, married women did not work…My appearance wearing an engagement ring signalled that I was exiting from professional life. Incidentally, it is interesting to notice that people were much more willing to congratulate me on my engagement than congratulate me on making a major astrophysical discover. Society felt that in getting engaged I was doing the right thing for a young woman. In discovering pulsars, I wasn’t…
In 1968, Ryle called Nature and told them to “hold the presses.” “Observation of a Rapidly Pulsating Radio Source,” listed Bell and Hewish and two other colleagues as authors, although current citations differ on who was lead author.
What IS certain, however, is that Ryle and Hewish were awarded the Nobel Prize in 1974, Hewish for his decisive role in the discovery of pulsars.” Although some argue differently, Bell is widely thought to have been robbed of a Nobel Prize. She is currently Dean of Science at the University of Bath.
Bell’s fascinating first-hand account of the discovery was reprinted in the June 2004 issue of Status: A Report on Women in Astronomy, which is published by the American Astronomical Society [PDF only].
In her telling, the N-word never comes up, even indirectly, but it looms large as day-to-day details of the players’ actions and theories build up. The excerpts above are about as close as Bell comes to explaining why she thinks she didn’t share the Nobel.
The only woman to win a Nobel Prize for Physics was Marie Curie in 1903, for discovering radiation. (She won again for Chemistry in 1911, for discovering radium.)
Jocelyn Bell, the woman who discovered pulsars
After discovering an inexplicable pulsing signal (a “sniggling quarter inch” blip that showed up for 5 min/day) in her PhD radio astronomy data (thousands of feet of paper charts) at Cambridge, Jocelyn Bell and her adviser Tony Hewish, wondered if it was a stellar phenomenon or some man-made interference. If the signal was indeed real, its source was unknown to science at that time. They took to calling it “little green men.”
There was a meeting just beofre Christmas 1967 which I stumbled upon. I went down to Tony’s office to ask him something and unusually, the door was shut. I knocked and a voice said, “Come in.” I stuck my head around the door and Tony said “Ah, Jocelyn, come in and shut the door.” So I went in and shut the door. It was a discussion between Tony Hewish (my supervisor), Martin Ryle (the head of the Group), and probably John Shakshaft (one of the other senior members of the Group). The discussion was along the lines of “how do we publish this result?”
Then the night before leaving for Christmas break, Bell locked herself in the lab, pored over her data, and found another signal in another part of the sky, confirming that the signal was not caused by human interference.
I went off on holiday and came back to the lab wearing an engagement ring. That was the stupidest thing I ever did. In those days, married women did not work…My appearance wearing an engagement ring signalled that I was exiting from professional life. Incidentally, it is interesting to notice that people were much more willing to congratulate me on my engagement than congratulate me on making a major astrophysical discover. Society felt that in getting engaged I was doing the right thing for a young woman. In discovering pulsars, I wasn’t…
In 1968, Ryle called Nature and told them to “hold the presses.” “Observation of a Rapidly Pulsating Radio Source,” listed Bell and Hewish and two other colleagues as authors, although current citations differ on who was lead author.
What IS certain, however, is that Ryle and Hewish were awarded the Nobel Prize in 1974, Hewish for his decisive role in the discovery of pulsars.” Although some argue differently, Bell is widely thought to have been robbed of a Nobel Prize. She is currently Dean of Science at the University of Bath.
Bell’s fascinating first-hand account of the discovery was reprinted in the June 2004 issue of Status: A Report on Women in Astronomy, which is published by the American Astronomical Society [PDF only].
In her telling, the N-word never comes up, even indirectly, but it looms large as day-to-day details of the players’ actions and theories build up. The excerpts above are about as close as Bell comes to explaining why she thinks she didn’t share the Nobel.
The only woman to win a Nobel Prize for Physics was Marie Curie in 1903, for discovering radiation. (She won again for Chemistry in 1911, for discovering radium.)
Bloghdad.com/Reagan
If you are going to call yourself a Christian — and I don’t — then you have to ask yourself a fundamental question, and that is: Whom would Jesus torture? Whom would Jesus drag around on a dog’s leash? How can Christians tolerate it? It is unconscionable.
Bloghdad.com/Reagan
If you are going to call yourself a Christian — and I don’t — then you have to ask yourself a fundamental question, and that is: Whom would Jesus torture? Whom would Jesus drag around on a dog’s leash? How can Christians tolerate it? It is unconscionable.
Meanwhile, Leo Steinberg c1960 on WPS1
So now my big complaint about WPS1 is that you can’t link to broadcasts very easily.
I’ve been listening to a series of lectures the art historian Leo Steinberg gave at MoMA in 1960 about contemporary art and the public’s reception/perception of it. There are three hour-long lectures; the first appeared last week (6/15), so work your way back through the ‘previous broadcast’ section to them.
I’m a lazy fan of Steinberg, whose unabashedly erudite tone I find very engaging. He invariably uses it to deliver extremely smart insights, all the while bringing you along his observational and analytical path. His method and criticism still strike me as entirely applicable to art-seeing and -making today.
It’s about as much fun as an audio recording of a slide lecture can be, I imagine. And it’s fascinating to listen back on a time when artist like Jasper Johns or John Chamberlain were seen as controversial provocateurs. Check it out.
Meanwhile, Leo Steinberg c1960 on WPS1
So now my big complaint about WPS1 is that you can’t link to broadcasts very easily.
I’ve been listening to a series of lectures the art historian Leo Steinberg gave at MoMA in 1960 about contemporary art and the public’s reception/perception of it. There are three hour-long lectures; the first appeared last week (6/15), so work your way back through the ‘previous broadcast’ section to them.
I’m a lazy fan of Steinberg, whose unabashedly erudite tone I find very engaging. He invariably uses it to deliver extremely smart insights, all the while bringing you along his observational and analytical path. His method and criticism still strike me as entirely applicable to art-seeing and -making today.
It’s about as much fun as an audio recording of a slide lecture can be, I imagine. And it’s fascinating to listen back on a time when artist like Jasper Johns or John Chamberlain were seen as controversial provocateurs. Check it out.
The Walker Channel
It’s like WPS1, but it’s almost two years old. The Walker Art Center operates The Walker Channel, an online collection of streamable artist interviews and other programming.
This is one prong of the museum’s strategy to maintain and expand their presence while their building is receiving a Herzog & deMeuron makeover.
Most of the recordings are interviews with people I’ve never heard of, and there are no explanations. But there IS a 2002 interview with Yoshiharu Tsukamoto, one of the principals in the cool Tokyo architecture firm Atelier Bow-Wow. They published Pet Architecture, which is a very cool book and site.
It’s simultaneously heartening and depressing to note that this interview with an architect I’m very interested in is almost as excruciatingly underproduced as the early WPS1 bits I whined about earlier.
The Walker Channel
It’s like WPS1, but it’s almost two years old. The Walker Art Center operates The Walker Channel, an online collection of streamable artist interviews and other programming.
This is one prong of the museum’s strategy to maintain and expand their presence while their building is receiving a Herzog & deMeuron makeover.
Most of the recordings are interviews with people I’ve never heard of, and there are no explanations. But there IS a 2002 interview with Yoshiharu Tsukamoto, one of the principals in the cool Tokyo architecture firm Atelier Bow-Wow. They published Pet Architecture, which is a very cool book and site.
It’s simultaneously heartening and depressing to note that this interview with an architect I’m very interested in is almost as excruciatingly underproduced as the early WPS1 bits I whined about earlier.
She Makes Art for Hard Money
So you better treat her right.
Approximately a hundred friends at Downtown for Democracy are organizing a fundraising party and silent auction of works by 35 established and emerging artists Tuesday, June 29, at Passerby.
Buy a $75 ticket to bid (silent auction runs from 8-10:30) or to see the preview (11-6). [And even though Bush & Co are the world’s problem, federal election regulations don’t permit (non-permanent resident) foreigners to give money or bid. Sorry.]
D4D is a PAC mobilizing the arts and creative community to raise hard money to, among other things, clean up the language on the Senate floor.
She Makes Art for Hard Money
So you better treat her right.
Approximately a hundred friends at Downtown for Democracy are organizing a fundraising party and silent auction of works by 35 established and emerging artists Tuesday, June 29, at Passerby.
Buy a $75 ticket to bid (silent auction runs from 8-10:30) or to see the preview (11-6). [And even though Bush & Co are the world’s problem, federal election regulations don’t permit (non-permanent resident) foreigners to give money or bid. Sorry.]
D4D is a PAC mobilizing the arts and creative community to raise hard money to, among other things, clean up the language on the Senate floor.
Curbed: ‘Fear The Lamp’
Curbed has a warning for NYC apartment hunters: “Fear The Lamp.”
Apparently, ARCO lamps–designed by the late Achille Castiglioni–are turning up in real estate listings with alarming frequency. [One possible reason: they’re freakin’ heavy. I had a chance to get one from a b-school friend’s apartment (where, according to the landlady, it had been abandoned many tenants before), but the solid marble block base was too unwieldy to carry down three flights of stairs. I’m sure it’s still there.]
Apartment buyers, sure to ask if The Lamp conveys; if it does, you may get a price break. But if you’re the guy in the apartment without The Lamp, a vintage 60’s version can be found on ebay or wherever for around $1,000-1,500, about half the cost of a shiny new one.
Curbed: ‘Fear The Lamp’
Curbed has a warning for NYC apartment hunters: “Fear The Lamp.”
Apparently, ARCO lamps–designed by the late Achille Castiglioni–are turning up in real estate listings with alarming frequency. [One possible reason: they’re freakin’ heavy. I had a chance to get one from a b-school friend’s apartment (where, according to the landlady, it had been abandoned many tenants before), but the solid marble block base was too unwieldy to carry down three flights of stairs. I’m sure it’s still there.]
Apartment buyers, sure to ask if The Lamp conveys; if it does, you may get a price break. But if you’re the guy in the apartment without The Lamp, a vintage 60’s version can be found on ebay or wherever for around $1,000-1,500, about half the cost of a shiny new one.
GWB’s Black Box Soundstage
On Monday, the Bush-Cheney show had (yet another) location shoot in Ohio. Exec Prod. Karl Rove is guarding the script closer than a CIA agent’s identity, it appeared to be (yet another) Bush Liking Black People scene.
The production company has published some pictures from the set on their website. They reveal some useful tips for imagemakers who need to utterly transform an alcohol and drug treatment center into a TV-friendly black-box studio.
First, the basics:
Rarely Ideas:
GWB’s Black Box Soundstage
On Monday, the Bush-Cheney show had (yet another) location shoot in Ohio. Exec Prod. Karl Rove is guarding the script closer than a CIA agent’s identity, it appeared to be (yet another) Bush Liking Black People scene.
The production company has published some pictures from the set on their website. They reveal some useful tips for imagemakers who need to utterly transform an alcohol and drug treatment center into a TV-friendly black-box studio.
First, the basics:
Rarely Ideas: