By now, Chinese President Xi Jinping’s ambition to remake the world is undeniable. He wants to dissolve Washington’s network of alliances and purge what he dismisses as “Western” values from international bodies. He wants to knock the U.S. dollar off its pedestal and eliminate Washington’s chokehold over critical technology. In his new multipolar order, global institutions and norms will be underpinned by Chinese notions of common security and economic development, Chinese values of state-determined political rights, and Chinese technology. China will no longer have to fight for leadership. Its centrality will be guaranteed.
In 2012, at the age of thirty-two, the writer Alena Smith went West to Hollywood, like many before her. She arrived to a small apartment in Silver Lake, one block from the Vista Theatre—a single-screen Spanish Colonial Revival building that had opened in 1923, four years before the advent of sound in film.
Smith was looking for a job in television. She had an MFA from the Yale School of Drama, and had lived and worked as a playwright in New York City for years—two of her productions garnered positive reviews in the Times. But playwriting had begun to feel like a vanity project: to pay rent, she’d worked as a nanny, a transcriptionist, an administrative assistant, and more. There seemed to be no viable financial future in theater, nor in academia, the other world where she supposed she could make inroads.
On the Saturday before the Iowa caucuses, the super PAC supporting Florida governor Ron DeSantis staged a “drop by” for the candidate at its headquarters in West Des Moines. Outside the modernist office park, much of the Upper Midwest was under a deep freeze brought on by a low-pressure system that had deposited more than a foot of snow in advance of a surge of arctic air that brought the wind chill into the negative thirties. Despite the atrocious road conditions, DeSantis was keeping his schedule as a “special guest” of the Never Back Down PAC, beginning the day at the far western end of Iowa, in Council Bluffs, and concluding it three hundred miles east, in Davenport.
The New Yorker (April 15, 2024): The new issue‘s cover featuresAna Juan’s “Clickbait” – The artist captures the mesmerizing—and distracting—glow of modern entertainment.
Can the World Be Simulated?
Video-game engines were designed to closely mimic the mechanics of the real world. They’re now used for movies, TV shows, architecture, military trainings, virtual reality, and the metaverse.
The New Yorker (April 1, 2024): The new issue‘s cover features Pascal Campion’s “Into the Light” – The artist depicts stepping out of the subway into the overwhelming glow of the city.
When Leah started dating her first serious boyfriend, as a nineteen-year-old sophomore at Ohio State, she had very little sense that sex was supposed to feel good. (Leah is not her real name.) In the small town in central Ohio where she grew up, sex ed was basically like the version she remembered from the movie “Mean Girls”: “Don’t have sex, because you will get pregnant and die.”
It’s now thought that they could illuminate fundamental questions in physics, settle questions about Einstein’s theories, and even help explain the universe.
Black holes are, of course, awesome. But, for scientists, they are more awesome. If a rainbow is marvellous, then understanding how all the colors of the rainbow are present, unified, in ordinary white light—that’s more marvellous. (Though, famously, in his poem “Lamia,” John Keats disagreed, blaming “cold philosophy” for unweaving the rainbow.) In recent years, the amount of data that scientists have discovered about black holes has grown exponentially. In January, astronomers announced that the James Webb Space Telescope had observed the oldest black hole yet—one present when the universe was a mere four hundred million years old. (It’s estimated that it’s now 13.8 billion years old.) Recently, two supermassive black holes, with a combined mass of twenty-eight billion suns, were measured and shown to have been rotating tightly around each other, but not colliding, for the past three billion years. And those are just the examples that are easiest for the public to make some sense of. To me, a supermassive black hole sounds sublime; to a scientist, it can also be a test of wild hypotheses. “Astrophysics is an exercise in incredible experiments not runnable on Earth,” Avery Broderick, a theoretical physicist at the University of Waterloo and at the Perimeter Institute, told me. “And black holes are an ideal laboratory.”
Artificial intelligence holds huge promise in health care. But it also faces massive barriers
Better diagnoses. Personalised support for patients. Faster drug discovery. Greater efficiency. Artificial intelligence (ai) is generating excitement and hyperbole everywhere, but in the field of health care it has the potential to be transformational. In Europe analysts predict that deploying ai could save hundreds of thousands of lives each year; in America, they say, it could also save money, shaving $200bn-360bn from overall annual medical spending, now $4.5trn a year (or 17% of gdp). From smart stethoscopes and robot surgeons to the analysis of large data sets or the ability to chat to a medical ai with a human face, opportunities abound.
The New Yorker (March 25, 2024): The new issue‘s cover featuresMark Ulriksen’s “Standing Guard” – The artist depicts the tail-wagging occasion of the first signs of spring.
“The Caring Hand,” by Eva Oertli and Beat Huber, is one of more than fifty sculptures at the new Freedom Monument Sculpture Park.Photographs by Kris Graves for The New Yorker
The civil-rights attorney has created a museum, a memorial, and, now, a sculpture park, indicting the city of Montgomery—a former capital of the domestic slave trade and the cradle of the Confederacy.
The National Monument to Freedom, in Montgomery, Alabama, is a giant book, standing forty-three feet high and a hundred and fifty feet wide. The book is propped wide open, and engraved on its surface are the names of more than a hundred and twenty thousand Black people, documented in the 1870 census, who were emancipated after the Civil War. On the spine of the book is a credo written for the dead:
Your children love you. The country you built must honor you. We acknowledge the tragedy of your enslavement. We commit to advancing freedom in your name.
What if building on the water could be safer and sturdier than building on flood-prone land?
In a corner of the Rijksmuseum hangs a seventeenth-century cityscape by the Dutch Golden Age painter Gerrit Berckheyde, “View of the Golden Bend in the Herengracht,” which depicts the construction of Baroque mansions along one of Amsterdam’s main canals. Handsome double-wide brick buildings line the Herengracht’s banks, their corniced façades reflected on the water’s surface. Interspersed among the new homes are spaces, like gaps in a young child’s smile, where vacant lots have yet to be developed.
News, Views and Reviews For The Intellectually Curious