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How AI Swarms Are Disrupting Democracy: I’m wondering whether the emergence of these swarms will finally prompt people to ask whether social media platforms are appropriate sources of information. Probably not, but I’m grasping at straws here.
We’ve tried over Christian history, in all sorts of ways and contexts, to imitate other kinds of militancy. And my feeling about that is: well that worked, didn’t it! I want to ask: how does Christ change things? One thing I think you can be fairly sure about in the New Testament is that he doesn’t use the techniques of available power systems. ‘This is how the kings of the gentiles work.’ What we do in our militancy for the faith, that is our committed and courageous attempt to witness to what we’ve been given and make it available to others, we do by lives of holiness — which means an awful lot of hard work for the vast majority of us who are nowhere near that level and who resort to shortcuts all the time.
My endorsement of this — and of his comments on the demonic in political life — is absolute.
The funny thing about Matt Taibbi's summary of Samuel Moyn’s new book — “Old People Suck and We Should Take Their Stuff" — is that it's 100% accurate. That is precisely what Moyn argues.
Looking at a painting is a welcome respite from scanning a screen. In that sense, this exercise is reactive: I labor in the small cottage industry of attention that has sprouted up in the cracks of the massive complex of distraction all around us. A phenomenological turn often occurs at times of intensive mediation, but the point is not simply to have our perceptions mirrored back to us. T. J. Clark has put the aim nicely: “When I am in front of a picture the thing I most want is to enter the picture’s world: it is the possibility of doing so that makes pictures worth looking at for me.” To look at a painting is also to exit our world for a while, and then to return to it cast in a different — distant — light. The time travel is often wonderful, and almost free.
I’m getting a start on my critical edition of Auden’s Nones, and reflecting that one of the chief pleasures of doing this work is the requirement that I own and consult the original Random House and Faber editions of the volumes. I’m amassing an interesting collection.
I understand that this won’t be everyone’s cup of tea, but I find Alec Goldfarb’s Indian classical music on guitar fascinating. ♫