by Jason Rothauser
This is what a government in crisis looks like. Last month, on October 1, the federal government entered its first shutdown since 1996, when an impasse between President Clinton and congressional Republicans led to the government’s doors being shuttered for almost two weeks. Our most recent shutdown beat that record, coming to an agonizing close minutes before midnight on October 16.
The term shutdown is slightly misleading, as most of the government’s most visible functions continued unabated throughout the crisis. Any service deemed essential—the military, for example, or, ironically, congress itself—continued to function. But every day brought more stories of gaps left by our more peripheral federal services. The federal park system was closed, veterans were turned away from national memorials (with much media attention), and the FDA’s routine food inspection was suspended. More than 800,000 federal workers were placed on furlough, without pay and forbidden to work.
How did we get here?
By Nicolas Renier
Medium Format Negatives Drying on a coat hanger.
I recently got myself an old and clunky film camera, but couldn’t completely get rid of the feeling that my frequent visits to Williamsburg had taken their toll, and my commitment to hipster culture had gone too far. There’s apparently not a strong rationale to keep shooting with film today, unless you don’t own a computer. Digital cameras took giant leaps in quality since their crappy beginnings in the early 2000s and any recent smartphone now outperforms in picture definition the 35 mm films we all used for decades. You can take thousands of pictures without spending a dime and easily broadcast them to anyone. So why bother with film? Does film, like audiotape, belong to the graveyard of technologies that we can happily leave behind? Continue reading
By John Borghi
Sending ripples through a scientific community still reeling from news that an artisanal science laboratory in Brooklyn, NY has documented the existence of phlogiston, a highly cited paper concerning the discovery of the alleged chemical compound known as bolonium has been proven to not actually exist. Continue reading
By Derek Simon
To say that New York is a musically rich city is the equivalent of saying it is a very large city: technically true but completely missing the point. Conveniently, Rockefeller happens to be located in this cultural hub, and as such we all have the opportunity to go listen to this impressive array of world-renowned musicians. But as is so often the case, with great talent comes great ticket prices. One of the rare exceptions to this rule happens to be located in our very own Caspary Auditorium every Friday at 12pm. Continue reading
This Month Natural Selections interviews Phil Kidd, Graduate Student in the Siggia and Young laboratories.
By May Dobosiewicz
From: All over the USA
Been here: Almost four years
Lives in: Upper East Side
By Bernie Langs
© Estate of Joan Mitchell
I hold the opinion that Abstract Expressionism was the last great movement in the history of painting. This school, or style, emerged in America (and centered in New York) after World War II, and its many master artists would include the likes of Jackson Pollack, Willem de Kooning, Franz Kline, Mark Rothko, Robert Motherwell, and Helen Frankenthaler. Abstract Expressionism features a bold technique and centers around emotions, sometimes those buried in the unconscious of the artist.
By Susan Russo
In Fort Tryon Park, overlooking the Hudson River in uptown Manhattan, through December 8th, an extraordinary sound installation is being presented at the Cloisters, a branch of New York’s Metropolitan Museum of Art, which houses rare and beautiful medieval treasures. Recorded by the Canadian-born artist Janet Cardiff, The Salisbury Cathedral Choir in England performs Thomas Tallis’s motet Spem in alium. Tallis, born in England around 1505, was an organist and composer for churches and royalty from Henry VIII through Elizabeth I. What makes this event unique is that Ms. Cardiff used individual microphones to record each of the singers. At the Cloisters, in the Fuentidueña Chapel, on permanent loan from the Spanish government, individual parts and voices are played through 40 speakers. This allows the visitor to move around the chapel to hear different parts distinctly while walking past each speaker, or visitors can sit on wooden benches in the middle of the chapel to experience the sound as a whole. The 11-minute work is played continuously throughout the day. On the day a friend and I visited, we were both moved in a way that is difficult to put into words. The New York Times called the presentation “achingly beautiful.”
By George Barany and Friends
Fall Classic 2013