basti fantasti

Whilst arguably at least a nominal improvement over a regime that seeks to denigrate and defund those institutions that promote the arts and humanities, Vienna’s museum board is nonetheless within their rights to protest the misappropriation of the motto of the Secessionist Movement—co-founded by in 1897 by symbolist painter Gustav Klimt—by Austria’s ascendant right-wing government, under the leadership of Sebastian Kurz.
Der Zeit ihre Kunst, der Kunst ihre Freiheit (as seen on the Secession Hall, which houses some of Klimt’s iconic works) means “to every age its art and to each art its freedom” which the cultural wing of the ironically named Freedom Party and ruling coalition (under the People’s Party) has co-opted, which in this other context sounds rather sinister like another pithy German saying that’s not said any longer, Jedem das Seine, to each his own.

operation blue book

Here is a nice ensemble of articles and footage that really captured our sense of dejection when it came to the media’s coverage (or lack thereof) on the revelation that the US Air Force and Pentagon maintained a secretive programme up until five years ago to study (like its antecedents) the phenomenon of unidentified flying objects and assess their potential threats.
Despite a reputable news source and containing some of the more compelling and credible testimony that we’ve encountered in years, the insanity of the news cycle, morbid scepticism and the contagion of time pressure all conspire (we would be flattering the regime if we expected it not to tell) so we are far more willing to believe the command: “Move along. Nothing to see here,” and perhaps we do so of our own accord. Of course there’s a lot of attention-seeking garbage out there not worth the investment of one’s time and attention (and it is encouraged to argue passionately about made-up aliens), but if journalism isn’t allowed to ever stray into the realms of the speculative, indulgent or even the aspirational, it seems to me to collapse into nothing more than one’s daily-digest of propaganda. I want to believe.

6x6

daft the halls: a fun, festive musical compilation in the style of the artists, via The Awesomer

tulip mania: companies unrelated to cryptocurrency craze are garnering attention by adding “blockchain” to their names

not to scale: Tanaka Tatsuya’s creative dioramas comprised of tiny people interacting with everyday objects, via Nag on the Lake

jólnar: the yuletide Icelandic Ogress Grýla seems far more formidable than Krampus (more on her extended family here), via Miss Cellania

bowling for elves: a look back at the viral 1999 computer game that circulated by email and the ensuing scare that made the public more wary about cyber-security

tuin der lusten: an animation studio reinterprets Hieronymous Bosch’s triptych Garden of Earthly Delights (previously) with contemporary vanities

subtle allegory or indistinguishable from magic

This short synopsis of the premise of a science fiction premise really resonated with us: first serialised in 2006, Liu Cixin’s award winning (and recently adapted into film) The Three-Body Problem (三体) proposes that humans have encountered no alien races because extra-terrestrials conspire to contain one another, lest they advance and become a threat.
Introducing this dominant race dispenses neatly with the other reasons aliens are not visiting. Rather than actively disarming and disabling their machines and modes of exploration, the only thing aliens would need to do to humans or any other planet-bound denizen would be to bring in an element of woo and superstition and pseudoscience, maybe a peppering of miraculous events that defy logical explanation to really enforce and cement beliefs. Playing the long-game, the dominant races’ containment-policy ensures it has no competition by undermining trust in science. Given our violent regression to primitive charms and preserving appearances, however, I think that perhaps blaming a technologically superior alien race for keeping humanity relegated to the cosmic backwaters also violates the principal of Ockham’s Razor, lex parsimoniae. We certainly hope that this message is preserved in the theatrical release.