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Missed News 569
May 14, 2021
Crime, Food For Thought, Human Interest, Medical, missed News, Political, Science, sports, Technical amazon, business, Business News, current-events, Future, Hotels, human-rights, medicine, mental-health, research, Science, Science News, technology, Technology News, travel, vacation Leave a comment
Frieze and the Return of the Megafairs Social reentry, sensory overload, and some very good art at the first big event since … well, you know when.
May 13, 2021
Arts, Business, Human Interest, Technical amazon, business, Business News, current-events, Future, Hotels, human-rights, medicine, mental-health, research, Science, Science News, technology, Technology News, travel, vacation Leave a comment
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How surreal is it that even as India and Brazil are at the gates of pandemic hell, much of Europe is still easing out of lockdown, parts of Canada remain shut down, and many in the United States are not yet vaccinated, a big, glitzy art fair was able to open in New York? Does the return of the fairs signal a return to the old business-as-frenzied-usual that, even pre-pandemic, everyone agreed had become obscene — an art world catering mainly to the ultrarich, performing power and price-fixing in plain view? Is it a sign of mindless addiction, of a market endlessly self-replicating — or is it an affirmation of art as a transformative force, a site of commonality and can-do spirit?
Last week saw the latest iteration of Frieze New York, the hippest of the hundreds of global art fairs that, pre-pandemic, had become some of the most economically risky but necessary components of financial survival on the nonstop money-go-round art-world trading floor. These fairs burned more spiritual and caloric energy than they ever put out. Greater and greater percentages of annual sales took place at these massive convergences, while gallery foot traffic dwindled and actual art shows went nearly unseen; galleries had to participate in fairs or go under. If they threatened to pull out, they risked triggering their artists’ FOMO — and possibly defection for more monied pastures. It was a system no one liked but that no one knew how (or was willing) to stop because it supported thousands of galleries and tens of thousands of artists in sales. Even if many of those galleries and artists were no good, the art-fair system had the power to turn the art-world trickle-down into a gushing market firehose.
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Work by Otis Houston Jr. at Gordon Robichaux’s Frieze booth. Photo: Casey Kelbaugh
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In Conversation: Alison Bechdel In her latest book, the graphic memoirist examines her relationship to exercise and, in turn, herself.
May 13, 2021
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By the time Alison Bechdel sat down in earnest to draw her third book, The Secret to Superhuman Strength, she was drinking less and had stopped going to therapy. She felt — dare she say it? — happy. The cartoonist, whose comic strip “Dykes to Watch Out For” was a serial fixture in queer newspapers from 1983 to 2008, is best known for her graphic memoirs Fun Home (2006), which became a hit Broadway musical (it’s now being adapted into a film featuring Jake Gyllenhaal), and Are You, My Mother? (2012). While both of these books are deeply personal excavations into her family history, Superhuman Strength examines her relationship to the world through her body and exercise. Her partner, Holly Rae Taylor, did the coloring work, which meant Bechdel needed to relinquish some measure of control — a theme throughout her work and her life. “I was very trained to be completely stuck in my head,” she says from her studio in Vermont. “Queerness brought me into my body; therapy brought me into my feelings. With this book, I’ve tried to come back out into the world.”
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Photo: Jeanette Spicer
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Missed News 568
May 13, 2021
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The Secret History of Women in Electronic Music Is Just Beginning to Be Told
May 12, 2021
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In the recently released documentary Sisters with Transistors, beloved avant-garde artist Laurie Anderson poses a provocative question: “How do you exorcise the canon of classical music of misogyny?” She pauses a beat, eventually answering: “With two oscillators, a turntable, and tape delay.”
The issue Anderson raises is a familiar one. In the last few years, electronic music has undergone a discursive reckoning: scholars, producers, DJs, journalists, and select labels and festivals have called for a feminist reimagining of electronic music’s past and present. This narrative shift has spotlit the women behind the boards; those tinkering with tape machines and oscillators, searching for a sense of freedom in the technology that once upended the traditional structures of composition and music.
Efforts to center women in this musical canon have ranged from comprehensive to dubious. In 2017, Caroline Polachek pulled out of the electronic music and technology festival Moogfest after it announced a lineup of exclusively “female, transgender, and non-binary artists,” saying she was skeptical of the low-level political signaling and the use of gender as a curatorial tool. Documentaries like Underplayed have focused on exposing artists’ personal struggles with discrimination, while all-female collectives and networks, including Discwoman, female: pressure, NÓTT, and dozens of others, have emerged to denounce the realities of a sexist industry across the world. The conversation is taking place in academia too; Columbia University recently organized a symposium devoted to excavating the contributions of long-forgotten forbears. To amend a fragmented history is difficult, particularly in a comprehensive and equitable way.
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Graphic by Drew Litowitz. From left: Clara Rockmore (courtesy of the Clara Rockmore Foundation), Jacqueline Nova (courtesy of Ana María Romano G), Suzanne Ciani (center, courtesy of Suzanne Ciani), Pauline Oliveros (courtesy of Mills College), and Daphne Oram (courtesy of the Daphne Oram Trust).
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Laying Ice: Inside the Legendary Legacy of the Zamboni Machine
May 12, 2021
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Richard Zamboni walks around the first ice-surfacing machine his father built seven decades ago. The 88-year-old is taking his time to remember.
“We’re using the same framework today, basically, that [my dad] came up with,” he says, his hands on the wood-paneled machine.
It’s late February 2020. Fifteen miles south of downtown Los Angeles, in Paramount, California, Zamboni is giving a tour of the family’s factory as well as one of the oldest operating ice skating rinks in the country, Iceland. In a corner of Iceland is the Model A. First built in 1949, it’s the original Zamboni machine, a name that’s become indistinguishable from the thing itself, like Xerox, Kleenex, or Google.
From an amateur’s eye, this large, wooden, double-decked Rube Goldberg–type contraption looks a whole lot different from the smooth, slick, boxy modern Zamboni that’s resurfacing ice rinks today. Yes, the engine is much more powerful now, Zamboni explains. Components have shifted, and the water tank is much larger.
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Missed News 567
May 12, 2021
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Aging is inevitable, so why not do it joyfully? Here’s how
May 11, 2021
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It was recently my birthday. It wasn’t a “big” birthday — one of those round-numbered ones that feels like a milestone — but nevertheless, it got me thinking about aging.
When I was a kid, growing older felt like an achievement. Each year that passed marked one step closer to adulthood, which for me meant independence and freedom. I remember going to the city with my dad to see plays or go to the Met and seeing a group of women having lunch in a café. It seemed glamorous and exciting to be an adult. I couldn’t wait.
Likewise, I never quite understood the popular antipathy toward old age. At Spencer’s, a novelty store at the Galleria Mall in White Plains where my friends and I would find gag gifts, I was always perplexed by the section of “Over the Hill” merchandise. I mean, my grandparents didn’t listen to my music or play Nintendo with me, but they were cool in their own way — not crusty and out of touch like the caricatures suggested. The geezer jokes and “lying about your age” punchlines that adorned the mugs and t-shirts there seemed to come from another world, one that didn’t make sense to me.
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Angus Greig
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The Absolute Best Way to Eat An Oreo, According to Science
May 11, 2021
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You could be a dunker, a twister, a licker, or a fast snacker who just bites right in: There are as many ways to eat an Oreo as there have been limited-edition versions of the treat. And more than 100 varieties later—including Brookie-O, Limeade, and (in China) Hot Chicken Wing—there’s still no consensus among consumers on the best way to devour milk’s favorite cookie.
Scientists, however, have a few ideas on how to maximize your Oreo enjoyment, and the Oreo makers themselves have an official recommendation.
“Perhaps the best-known way to eat an Oreo is the classic ‘twist, lick, and dunk,’” writes Marion Delgutte Saenen, Oreo’s U.S. marketing director, in an email, “and while fans might add their personal spin here or there, in our opinion it’s still the best way to eat America’s favorite cookie.”
Still, food scientists and specialists in the field of sensory studies can offer some research-backed methods for gleaning pleasure from an Oreo. It starts with the cookie’s classic combination of chocolate and vanilla, flavors that are quite possibly what researchers call “congruent”—that is, combinable in a way that’s pleasing to your senses. Congruence is difficult for scientists to measure, but in a 2016 study in the journal Chemical Senses, they note that chocolate’s rich, warm, slightly earthy smell fits well with sweet tastes, like vanilla.
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Trevor Raab
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Missed News 566
May 11, 2021
Crime, Food For Thought, Human Interest, missed News, Political, Science, Technical amazon, business, Business News, current-events, Future, Hotels, human-rights, medicine, mental-health, research, Science, Science News, technology, Technology News, travel, vacation Leave a comment
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James' World 2 