Kiran Ahluwalia @ Joe's Pub


Sometimes my life is just one endless debate over hybridity/fusion. Last night was the latest chapter, with Kiran Ahluwalia's CD release performance at Joe's Pub in New York.

Ahluwalia sings Ghazals and Punjabi folk songs, mainly in a traditional style. (According to her website, she studied the art of Ghazal for several years in Hyderabad with a teacher named Vithal Rao, "one of the last living court musicians of the Nizam (King) of Hyderabad.") She has a remarkable, strong, unique voice. For that alone, I strongly recommend her music.

The difference -- and perhaps, the controversy -- is in her band, which includes western guitar and bass, and has a bit of a jazz sensibility. There is also just a hint of jazz in Ahluwalia's voice in some tracks. Nothing too obvious, but it's there in her live rendition of songs like "Rabh da Roop" (the CD version is a little different -- more "asli"). A traditional Punjabi version might really play up the melodrama of the song ("My friend, I have found my love/ but lost myself./ The intoxication of my passion/ overwhelmed me/ and I lost myself."). But in Ahluwalia's rendition it still comes across as just a little playful.

I have to admit that I like the lightness. I have a few ghazal CDs -- mainly Jagjit & Chitra and Pankaj Udhas -- but I don't listen to them often anymore. Ghazals can be heavy, and slow -- lugubrious, even. While a cynic might say that Ahluwalia has a jazz guitarist because it makes the music more legible to Americans and ABCDs, one could just as easily say that it brings the rhythm up, and makes things more lively. (And while I'm at it, I should point out there's plenty of fusion happening in India itself right now -- listen, for instance, to the great debut CD from Rabbi Sher-Gil.)

Not everyone likes what Ahluwalia is doing. I ran into a couple of old friends at the show -- both ABCDs. They said they didn't especially like the fusion elements; somehow it made the music seem a little light. One quip that stuck in my mind was their sense that the fusion wasn't "necessary," and I can see what they mean. You could sing ghazals the way Jagjit & Chitra do it, or do Punjabi songs the way someone like Abida Parveen sings them (or indeed, the way Jagjit & Chitra did, on occasion). In traditional renditions, you hear strong emotion, and voices straining with longing at every note. But Ahluwalia never quite goes there. She sings her songs the way western folk singers might sing their songs -- with feeling, but with a certain restraint that comes, I suspect, from a commitment to technical precision: it's more important that I hit every note just right, than it is that you believe that I'm really feeling the emotion of this song right now.

My friends might have a point about the "necessity" of fusion in the formal sense. But in a more practical sense, they're definitely wrong. Without the fusion element, there is no to arrange a CD debut performance at an elite venue like Joe's Pub. Without fusion, also, you don't get a major record contract with a prominent World Music label, and you don't get a room full of sophisticated New Yorkers (half of the audience was non-Indian) loving your music. To put it quite directly, without fusion, there is no way Kiran Ahluwalia and her band could get paid like professional musicians at an early phase in their career.

I myself only heard of Kiran Ahluwalia on Tuesday, listening to WNYC's "Soundcheck" as I was driving somewhere. You can listen to the show here. (She comes in at 26:30; the first half of the show is a Canadian band called The Dears.)

[Incidentally, I had a similar debate with my cousin last year, when we went to see Vishal Vaid at the same venue. See that post here]

Speaking of MP3s: Beethoven at the BBC

Downloadable Beethoven symphonies at the BBC. How dope is that.

MP3 file, from Radio Open Source w/YT

The MP3 of the radio interview with Amitav Ghosh is here, at the wonderful Internet Archive.

I would also recommend the conversation on the same program the following night, with Professor Kim Scheppele, on putting the recent referenda on the EU Constitution in perspective. She's worked with the Afghanis as a consultant on their constitution, and is going to be working with the Iraqis this summer during their Constitutional Assembly.

You can also find all of the other downloadable episodes of Radio Open Source that have made it through the Internet Archive's cue by doing a search for "Christopher Lydon" at their site. Thus far it looks like 5 episodes of the show in all are available. (Incidentally, their search engine is a little screwy; you get different results if you run the search multiple times!)

Book Meme (the buck stops here)

Kitabkhana had tagged me last week to do this book meme thing. Someone else did too, recently, though I can't quite figure out who.

I'm going to do it, but -- bad luck! -- I'm going to break the chain, and refrain from tagging anyone else. (If you would like to do a meme inspired by this one, send me an email or drop me a comment, and I will retro-actively tag you.)

1. Total Number of books you own

No idea. I got married two years ago, which means in addition to my office full of books, my study at home full of books, and a living room with a fair number of books, my wife's books are there -- most of them on a large bookshelf in the bedroom. So in addition to predictable titles like Gauri Viswanathan's Outside the Fold: Conversion, Modernity, and Belief, John Hawley's Sati: The Blessing and the Curse, and Michael Walzer's On Toleration, for all practical purposes I now also posses a rather intimidating shelf of books called things like Data Structures Using C and C++, Local Area High Speed Networks, and ATM & MPLS Theory & Application. Top that, eclectic readers!

2. Last Book I Bought

I'm not sure which I bought more recently -- Andrea Levy's Small Island or a massive anthology called Theory's Empire (to be discussed shortly on The Valve).

When I bought the Levy, I also picked up a small pile of books from the "extras" bin ($5) at the Barnes & Noble near where I live: Jasper Fiorde's The Eyre Affair (heard it was funny), Anthony Arthur's Literary Feuds (I love me some literary feuds), Peter Gay's Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks, and a biography of Flaubert by Geoffrey Wall.

Like Hurree of Kitabkhana, I evidently buy books by the bushel.

3. Last Book I Read

On Sunday and Monday I re-read Amitav Ghosh's The Hungry Tide, as part of preparing for what turned out to be a very brief role in a radio conversation with Ghosh Monday evening. The book stands up to a second reading, though this time I noticed that I was much more interested in Ghosh's use of science and religion -- the dolphins and Bon Bibi -- than I was in the lives and loves of the main characters. No complaints on that, though: I am in very good shape if I find myself at a cocktail party talking to a Cetologist anytime soon.

Last week, with great difficulty, I worked my way through William E. Connelly's Why I Am Not A Secularist, a book I should have read two years ago. (I tried earlier, but I couldn't follow the argument.) He makes some really good points, even if I ultimately disagree with him (and Talal Asad). I may do a blog post on this at some point to spell out what I mean a bit more.

4. Five Books That Mean A Lot To Me

I'm going to limit this to "five books that were important to me when I was in college." Otherwise, readers are likely to be treated to a long list of obscure works of literary criticism. (I'll save that list for "Book Meme: Pedantry Edition," which will undoubtedly be going around next month)

A. Midnight's Children was the inspiration for my undergraduate thesis (on Salman Rushdie). Though it wasn't assigned to me it was the experience of developing a comprehensive argument about this book that gave me the confidence to try for graduate school in literature. Else, I would have ended up in grad school in biology, or law school, or writing computer software... Daaamn youuuuu Ruuuuuuuuuushdiiiiiie!!! [in my best Charlton Heston voice]

B. Virginia Woolf's To the Lighthouse I got my first "A+" at Cornell for a paper I wrote on this novel. I subsequently lost the paper, but Woolf made so much sense to me that I had this novel more or less in ready memory for many years. It was still pretty much fresh when I read it again to teach during my first semester as a professor. When I first read it, the book opened up a world. The second time was quite different: it was my feeling of loyalty to Woolf's philosophical framework that inspired me to get my act together as a teacher during an otherwise very difficult semester. (9/11 was in the air; I was paranoid and depressed.)

C. Deleuze-Guattari's Anti-Oedipus. It seems strange given that I never talk about Deleuze-Guattari, but the explosive freedom of their theoretical method lit a fire in my brain when I was 19. I think I might summarize it like this: Deleuze and Guattari argue that all established methods for understanding the human role in the material world -- from Descartes to Freud -- are wrong, expressions of a kind of philosophical totalitarianism. What you need is a completely different, rigorously anti-authoritarian basis for knowledge, based on a non-object they call the "body without organs." Deleuze/Guattari are responsible for a slew of theoretical buzzwords that people still play with, such as the "rhizome," the "nomad," "deterritorialization," the "smooth and the striated," and "molar/molecular" [as a political metaphor]. It all sounds cool, until you try and explain any of the terms to someone who is not a "theorist." I now find the "body without organs" to incoherent (or at least, useless), and I believe all of the other Deleuzian terms are expressible in simpler terms.

D. Plato's The Republic. This was an inspiration, but in rather the opposite manner from Anti-Oedipus. I took a course in the Comp. Lit. department on something to do with philosophy and literature. The Professor, whose name I have unfortunately forgotten, was an elderly woman of a rather conservative bent, who was often a little frustrated by the small band of political radicals (myself included) that landed up in her class. We wanted to talk about communism, feminism, and Lacanian interpretations of the Allegory of the Cave. She wanted us to interpret the book. Through her demand that we be rigorous, I really learned a fair bit about how to read Plato.

E. Octavia Butler's Bloodchild. It's still my favorite work of science fiction. Icky, yes. But brilliant.

Tag Five People And Have Them Do This On Their Blogs.

No, I refuse. But again, if you would like to do one of these, let me know (send me the link), and I will retro-actively tag you.

Follow-up From Yesterday: Thoughts on India, Iraq, Globalization, and "Empire"

Well, I did my best with my two minutes of radio fame. [Update: a downloadable MP3 is here]

In response to the question "What is the message from India," I said that there is no one message. India is way too complicated for that to even be a very productive question. It depends where you look, how you look, and who you talk to. I wish I would have had time to say a bit more:

For instance, for India’s poor, globalization has been of little consequence. The poorest segments of Indian society are still by and large without access to reliable electricity, clean water, education, or medical care. India’s per capita income is still $2,600 in purchasing power, according to the UNDP. The country is ranked 127th in the world in the UNDP’s development index. Adult literacy is at 60% according to the Indian census. And while there has been some progress, there’s no question that the sheer numbers of people who are living in conditions of poverty should be of grave concern to people all over the world.

Dilip D’Souza has reported on this in many of his stories in the Indian media. He’s been especially compelling on the plight of the people who live in the shantytowns of Bombay/Mumbai -– where something like half of the city live in illegal tenements that are routinely torn down by city authorities (only to be immediately rebuilt). A staggering number of people spend their entire lives in abysmal circumstances. (A sense of the surreal life of the chawls is also quite prevalent in Maximum City.)

We can perhaps blame some of these failures on western policies regarding India, but I don’t think it’s really sufficient. A much bigger factor has been the government’s lack of responsiveness, and its lack of vision about how to address the problems that are internal to India.

* * * * * *
But that's not the only story, and I think it's a mistake to only dwell on the negative. (The tenor of last night's conversation drifted in that direction.) I tried to offer some slightly more upbeat comments... here's what I should have said:

There is a new confidence, a new passion for entrepreneurialism in many different fields. Obviously the best known of these is the high tech industry -– computers, software, the internet. But you also see it happening in fields such as medicine, biotechnology, even space exploration. And of course you see it in literature, with a new crop of writers that is doing pretty amazing work writing in India itself.

The old idea that a well-educated person with talent and ambition had to leave India in order to get anywhere is fading. There is a trend where a small number of people who emigrated some years ago are actually returning to India to start businesses, or manage the Indian offices for major multinational corporations. The numbers of this reverse drain ("brain gain") are relatively small, but I suspect it will pick up, and have some long-term benefits for India’s talent pool.

There’s been some talk that because much of the work created in recent years via globalization is "back-office" work –- call-centers, for example -– the benefits for India will end up being quite limited. The sociologiest Vijay Prashad has even used the expression "high tech coolies" to suggest that while people who work at various kinds of outsourcing jobs are very well paid relative to the national average, they are essentially doing menial work that Americans don’t really want to do. There is a danger of that happening, but it seems to me that the picture is much more complicated than that, and I think Prashad has been mistaken in using that term. The call center phenomenon is only part of it. More and more of the outsourcing work is high quality employment. Companies like Microsoft and Intel increasingly depend on Indian programmers not just to write the basic code, but to develop large components of their fundamental products.

It is increasingly possible for middle class people in India to have very fulfilling careers in India itself, doing work that is at once challenging and meaningful, and where they themselves have a sense of command over their own destinies. It’s a major change from the era when office jobs were men sat, drank chai, and took bribes -- where not much of substance got done, and where ambition and innovation were stifled at every turn. Some of that culture is still there (one continues to hear complaints about India's Ocean of Red Tape), but a growing number of Indians in the current generation are fed up with it.

But again, it's a mistake to get carried away with optimism. The other set of problems -- those linked to poverty -- still remain. Since the government is unlikely to imagine any new way of dealing with entrenched problems, I have some hope that the younger generation will start to think beyond themselves, and use the new ethos that is emerging to improve the greater common good in ways that will benefit India’s large populations of both urban and rural poor. I would love to see an entrepeneurial attitude to fighting illiteracy and unemployment.

In short, though some people are worried about Western Imperialism, what is going to be more important in the long run is what Indians can do for themselves.

* * * * * *
Speaking of Empire, I’m not convinced that it’s appropriate to talk about American imperialism or "American empire" in the context of India. There are certain disturbing parallels between the recent Iraq war and the British Raj -– Ghosh has written about them, in the New Yorker (an article that is available at his website) but for me it’s not really a strong point for historical comparison -- it's more like a historical metaphor.

And I was a little disappointed that Amitav Ghosh seems to be essentially where he was at the start of the recent Iraq invasion. Here is how he opened the essay from the March 2003 New Yorker:

During the past few months, much has been said and written on the subject of a "new American empire." This term, however, is a misnomer. If the Iraq war is to be seen as a kind of imperial venture, then the project is neither new nor purely American. What President Bush likes to call the "coalition of the willing" is dominated, after all, by America, Britain, and Australia - three English-speaking countries whose allegiances are rooted not just in a shared culture and common institutions but also in a shared history of territorial expansion. Seen in this light, the alignment is only the newest phase in the evolution of the most potent political force of the last two centuries: the Anglophone empire.

I am an Indian, and my history has been shaped as much by the institutions of this empire as by a long tradition of struggle against them. Now I live in New York; for me, the September 11th attacks and their aftermath were filled with disquieting historical resonances. I was vividly reminded, for example, of the Indian uprising of 1857, an event known to the British as the Great Indian Mutiny. That year, in Kanpur, a busy trading junction beside the Ganges, several hundred defenseless British civilians, including women and children, were cut down in an orgy of blood lust by Indians loyal to a local potentate, Nana Sahib. Many of the Indians involved in the rebellion were erstwhile soldiers of the empire who had been seized by nihilistic ideas. The rebels' methods were so extreme that Indian moderates were torn between sympathy, revulsion, and fear. Many Indians chose to distance themselves from the uprising. Others went so far as to join hands with the British in the two violent years that followed the rebellion. A similar process is clearly under way in today's Middle East, where Islamist fundamentalism has inflamed some Arabs while alienating others.

The phrase "shock and awe," used by the United States military to describe the initial aerial attack on Baghdad, provided another reminder of the 1857 uprising in India. In the aftermath of the mutiny, the British mounted a campaign to create terror and awe among rebel forces throughout the Indian subcontinent. The road from Kanpur to Allahabad was lined with the corpses of Indian soldiers who had been hanged; there were public displays of rebels being shot from cannons. British soldiers sacked cities across the north of India. The instruments of state were deployed in such a way as to reward allies and punish areas and populations that had supported the rebels. The effects of these policies were felt for generations and can, arguably, still be observed in the disparities that divide, say, the relatively affluent region of Punjab and the impoverished state of Bihar.

The right and wrong of the British actions are not at issue here. Nor do I want to overstate the analogy to the present circumstances; the "coalition of the willing" is clearly not going to use nineteenth-century methods in Iraq. I want, rather, to pose a question that is not articulated often enough: Do such acts of power work? Many believe that displays of military might are always erased or offset by countervailing forces of resistance. But those who are accustomed to the exercise of power know otherwise. They know that power can be used to redirect the forces of resistance.

It's a very nicely written opening, but is it still a relevant metaphor for the current situation? At best, this is a caution for Americans on the verge of war. In the conversation on the radio last night, Ghosh followed up by alluding to Gandhi, and reminding us that freedom can't be instilled at gunpoint. All of which was said, correctly, by many on the left in the build-up to war. But I don't think it's a useful sentiment two years later; some things have changed. Like the Democratic presidential candidates in the last election, we need to apply ourselves to the new reality; we cannot effectively 'run' against a war that has already happened. I believe that in some fundamental sense we have to find a way to accept the American occupation, though we can continue to draw attention to the potential for further exploitation of the Iraqi people.

How to read what is happening in Iraq today is a vexed question. It does seem that the new government is slowly establishing itself, and there are some hints that the insurgents are slowly being rounded up. Do we really believe that a stable Iraqi government can't survive the inevitable withdrawal of American forces? And would we still call then this an exercise in "Imperialism"? Since I do believe that US troops will withdraw in the next 2-3 years, I don't think the term is applicable in the territorial sense. The US will, admittedly, begin to demand economic privileges from the new Iraqi government with regards to access to oil, but that is an economic relationship. It's an exploitative relationship, and not a good thing for ordinary Iraqis (or, for that matter, for ordinary Americans). But we should employ a different word to describe it.

Getting back to India. Christopher Lydon asked me why there hasn't been more outrage about America's Iraq adventure in the postcolonial world.

What I said was, some Indians did in fact protest this war -- Ghosh's piece in the New Yorker certainly had an impact, for instance. But these days most of India's intellectuals are, correctly, more concerned with the problems that preoccupy India itself than they are with George Bush's latest follies. It's a classic American fallacy to think that everyone in the world is worried just about America!

What I should have said was something along these lines: there is in fact a great deal of diversity of thought in India about this war, and the best attitude for India to take in response. Some might see it as a naked display of American super-dominance on the geopolitical stage, built on lies, and a deeply corrupt enterprise from start to finish. (Oh wait, that's how I see it...) But others in India's new generation would take a more pragmatic stance: We weren't happy that you started this war, but now that you have, is there any way I can make money out of it?

On the radio, w/Amitav Ghosh

It looks like I am going to be on the radio on Monday, as part of an interview with Amitav Ghosh, on Radio Open Source, a new NPR show. It is scheduled for 7-8pm Eastern time (4-5am in India); I am supposed to be on between 7:20 and 7:35 or thereabouts.

They are only up in a few markets, including Boston, Seattle (Manorama, are you reading this?), and Salt Lake City (VK, are you reading this?). But apparently their shows are being both streamed and archived on the Internet, so you can listen remotely and later. Go to their blog to tune in.

Any suggestions for things to talk about on The Hungry Tide, or Amitav Ghosh more broadly? Apparently the producers of the show want to focus on what is happening in India today, politically and culturally -- not so much the literary aspect. Suits me just fine.

I'm going to be working on some questions of my own to ask Ghosh this weekend. But if you send me well-focused short questions that I can use I will try and give you credit over the air.

UPDATE: Ok, it's over. For those of you coming over from Open Source, here are two things I've written on Amitav Ghosh before:

1. On Tsunami relief

2. On The Hungry Tide

Fusion Music: Sikhman/Rastaman and Hindi Reggaeton

Two interesting kinds of music fusion for you today.

1. Transglobal Underground, "The Sikhman & the Rasta," from Impossible Broadcasting. Transglobal Underground are a globalized dub/electronica outfit based in the UK. They've put out quite a number of CDs over more than 15 years, specializing in in experimental, often improbable, kinds of fusion. The results tend to be hit-or-miss. Every CD of their I have has one or two really interesting tracks, but there are also usually several "skips."

The song that caught my ear on the new CD Impossible Broadcasting is the one called "The Sikhman & the Rasta," in which an Afro-Caribbean dancehall MC called Tuup finds a link between Sikhs and Rastas ("The Rasta and the Sikhman dem don't cut hair/ The Rastaman and Sikhman dem have no fear") that is a bit eccentric, though there is something in it -- both Sikhs and Rastafarians have religious stipulations against cutting their hair. And both communities have a distinct and vibrant musical culture that is highly visible in the UK. This song is trying to cross-reference these two unique features.

Even if you don't see the connection, perhaps the song worth tracking down, if the free sample you can listen to at Emusic piques to your curiosity. All I can say is, I'm sure you don't already have anything in your MP3 collection that sounds like this.

2. Desi Reggaeton. Indian remixers in the New York area aggressively sample current hip hop hits on their "promotional" CDs. Most of the time, the remixes don't work very well -- do we realy need a remix of "Chaiya Chaiya" with the beat from "In da club"? Well, maybe you do. And every so often one comes across something that hits just right. Fortunately, the CDs tend to cost around $5, so if a CD is a dud it doesn't hurt too badly.

Some of the same problems are present on Bollywood High Volume 3: Reggaeton Edition, which exploits the current Reggaeton fad. The CD remixes songs from current Hindi films like Kaal, Tango Charlie, Waqt, and Mere Jeevan Saathi, with beats from Daddy Yankee, Tego Calderon, and Nina Sky. It's pretty entertaining to listen to, though as with Reggaeton generally (this fad is slated for extinction, don't you think?), it gets repetitive pretty quickly.

Desiqua. This CD is basically a DJ's fantasy. Unlike Chutney Soca in Trinidad, there isn't that much direct interaction between Indian music and Puerto Rican music going on, either in New York or in Puerto Rico.

However, there is actually a small but vibrant community of Indians living in Puerto Rico (we met a bunch of them the last time we were there). They and their New York expatriates call themselves "Desiquas" (Boriqua + Desi).

Sudoku and Mathematics


[Source: Brainbashers. Solution below]

Everyone is talking about Sudoku, so I tried it and was, predictably perhaps, instantly addicted.

The Christian Science Monitor article sums up the game pretty nicely:

Sudoku, which means "single number" in Japanese, is essentially a simple logic problem with layers of hidden complexity that can draw the solver in to the point of obsession. A grid nine squares by nine is presented in which all the integers from 1 to 9 must appear in every row, every column and every 3-by-3 box. So far, so good.

Some numbers are given as initial clues. Then, by process of deduction, sometimes resorting to quite intense logical assumptions, the solver can slowly begin to work out what goes where.

There is a debate at Jabberwock about whether the skills involved in solving the puzzles are or aren't "math." A Financial Times article is referenced, only I don't subcribe to the FT, so I can't read it. It's a safe bet to say that the game requires intensive use of heuristic logic; perhaps it doesn't matter whether we use the "M" word or not.

The CSM article references two terms I hadn't seen before in connection with this question, in the following sentence:

Thus more committed fans will engage you in subtleties of bifurcation and Ariadne threads, of trial and error versus pure logic.

From a quick Googling, all I can get on "bifurcation" is some stuff Fractal algorithms, which doesn't seem at all relevant to Sudoku. And "Ariadne's thread," in mythology, was a gift Ariadne gave her lover to help him get through a labyrinth. In everyday usage, an "Ariadne thread" refers to a heuristic you use to help retrace a line of thought. Presumably in Sudoku it would relate to keeping track of a trail of hypotheticals or guesses. But again, I couldn't find anything that would explain what exactly the technical, mathematical reference point for "Ariadne Threads" might be. There is something going on with this in serious Computer Science-land, but I can't make heads or tails of it.

Update: There is some good math on Sudoku at Wikipedia, but this is more the way a computer would solve the grid as an "NP-Complete" problem, not so much a human.

For more on Sudoku, see of course Slate, Puzzle Cannon, and especially Locana.

Anand points to Web Sudoku, which might be a good place to get started if you're not looking to install the game software from Sudoku.com.

Ashes & Snow: A Traveling Circus


This spring, about half a dozen people, in separate instances, recommended that I see Ashes and Snow, an exhibition of photography by Gregory Colbert. It's at a "Nomadic Museum," a massive temporary building constructed out of storage containers, on Pier 54 in Chelsea. Judging by the hype and the marketing (I've seen posters for the exhibit up all over NYC), this has been the second "must-see" spectacle in New York this year. (The first being "The Gates," of course.)

The media and the blogosphere, as far as I can tell, have been very respectful of Ashes and Snow. Here is Kottke, and here is Richard's Notes (quite informative, actually). Even the excellent Tiffinbox, a professional photographer, seemed impressed with the idea of this exhibition.

I was not impressed. I was, to begin with, bored by the photography, which isn't all that impressive visually; the sepia-tinted pictures are pretty, but the "ethereal" effects can be faked with Photoshop. More importantly, I was deeply annoyed by the strong undercurrent of exoticism and artificiality in the exhibit. Ashes and Snow is the Discovery Channel with one addition: exotic-looking Indian and Asian children in flowy robes are dancing and swimming placidly with the exotic (and often dangerou) animals. They don't speak, they don't smile, and they don't complain. They are, in a sense, analogous to the animals -- not just silent "native others," but, in the logic of this exhibit, animals themselves. The exhibit notes and the website will have you believe that it's a statement about "harmony between animals and human beings."

But I don't buy it, partly because of the blatant artificiality of the poses -- people don't just hang out with Cheetahs on stark desert plains. And they don't swim with elephants with their eyes closed, looking enraptured. (Or, as in the photo above, they don't sit in a row reading while elephants sit, apparently listening.) All of these are poses elaborately staged by the photographer, and it's hard for me to forget it. The other reason I can't buy the statement about human-animal unity is the manipulative environment of the gallery, which is memorably designed, to be sure (see this on Shigeru Ban's approach to "sustainable architecture"). But the deeply recessed lighting, the exotic world music in the background, the pebbles, the rice paper -- the whole presentation, in short -- plays up a "spiritual" and "exotic" atmosphere that nullifies any objective quality the photographs themselves might have.

If you watch the video loop at the back of the gallery for a bit, a male voice starts reciting this mantra while a desi chick dances in the mud with a baby elephant:

"Flesh to fire, fire to blood, blood to bone, bone to marrow, marrow to ashes, ashes to... snow."

To which my response is:

"Cow to beef, beef to burger, burger to mouth, mouth to stomach, stomach to shit, shit to... snow."

Ashes and Snow was for me the equivalent of a traveling circus, only in pictures. It's the traveling circus in an era of political correctness ("no animals were harmed," etc.), and World Music you can buy Starbucks. But it's still a circus, and still, to me, rather repulsive.

Next up for Ashes and Snow is apparently Los Angeles, where I am sure it will be received by more wildly appreciative crowds, dropping $12 per person. Better go, while the circus is still in town.

Rushdie on Creationism/Evolution

Rushdie has a piece in The Toronto Star on creationism vs. scientific atheism (via A&L Daily).

Though I don't actually agree with his point here (atheists should remain intolerant of religion, not accommodating), I admire the verve and style. Rushdie's recent novels seem a little tired... why doesn't he take this up full time?

Since I was just talking about this yesterday, let me quote the passage in the column where he talks about Intelligent Design:

And in America, the battle over the teaching of intelligent design in U.S. schools is reaching crunch time, as the American Civil Liberties Union prepares to take on intelligent-design proponents in a Pennsylvania court.

It seems inconceivable that better behaviour on the part of the world's great scientists, of the sort that Ruse would prefer, would persuade these forces to back down.

Intelligent design, an idea designed backward so as to force the antique idea of a Creator upon the beauty of creation, is so thoroughly rooted in pseudoscience, so full of false logic, so easy to attack that a little rudeness seems called for.

Its advocates argue, for example, that the sheer complexity and perfection of cellular/molecular structures is inexplicable by gradual evolution.

However, the multiple parts of complex, interlocking biological systems do evolve together, gradually expanding and adapting — and, as Dawkins showed in The Blind Watchmaker: Why the Evidence of Evolution Reveals a Universe Without Design, natural selection is active at every step of this process.

But, as well as scientific arguments, there are others that are more, well, novelistic. What about bad design, for example? Was it really so intelligent to come up with the birth canal or the prostate gland?

Incidentally, is another winning Rushdie polemic about creationists in Step Across this Line. It is called "Darwin in Kansas."

Isaac Newton and Intelligent Design

For my book, I've been reading up a bit on the secularization of philosophy, which entailed some dabbling with the ideas of Isaac Newton, Blaise Pascal, Rene Descartes, and Baruch Spinoza. The road to a purely secular view of the world, it turns out, has had some interesting twists and turns. I've been particularly impressed by how much effort was exerted in the 17th century to hold onto the idea of "God"; nothing remotely similar is undertaken today.

All of the philosophers above were revolutionary mathematicians or scientists in addition to being philosophers. When they attempted to create linguistic and conceptual explanations of the world, they were also the first people to have understood certain aspects of the workings of the universe.

The best example of this might be Isaac Newton, who was the first to offer a comprehensive mathematical explanation of the planetary orbits in our solar system. When he looked at the solar system, he was probably the first to understand the true complexity of the physics involved, and it was dazzling.

Here is what he wrote in the Principia, in 1687:

I do not think it explicable by mere natural causes but am forced to ascribe it to ye counsel and contrivance of a voluntary agent.' A month later he wrote to Bentley again: 'Gravity may put ye planets into motion but without ye divine power it could never put them into such a Circulating motion as they have about ye Sun, and therefore, for this as well as other reasons, I am compelled to ascribe ye frame of this Systeme to an intelligent Agent.' If, for example, the earth revolved on its axis at only one hundred miles per hour instead of one thousand miles per hour, night would ten times longer and the world would be too cold to sustain life; during the long day, the heat would shrivel all the vegetation. The Being which had contrived all this so perfectly had to be a supremely intelligent Mechanick.

It's beautiful, it all runs on its own with marvelous symmetry -- it must have been designed by something or someone Intelligent.

It so happened that I was reading this the day after I had read a piece on the pseudo-scientific movement called "Intelligent Design" in the New Yorker, and I was struck by the similarity in the reasoning.

Intelligent Design, as many readers know (especially those who look in on the excellent Pharyngula now and again), is a movement posing itself as an alternative theory (or set of theories) to evolution. According to Allen Orr in the article, its main scientific proponents are the biochemist Michael Behe, who wrote a book called Darwin's Black Box, and William Dembski, a mathematician.

Behe's arguments might relate to Newton the best. He believes the sheer complexity of individual cells, even of the simplest bacteria, is dazzling. In particular, he finds the interaction of different proteins that perform essential tasks in cells -- such as building the flagellum, or tail, or a bacteria, for example -- is "irreducibly complex." That is, each of the components is dependent on others in an extremely complex interlocking framework. It seems difficult to imagine how such a system might have evolved using Darwin's principle of natural selection, and indeed, apparently evolutionary biologists cannot yet fully explain it. And here is where Behe comes in:

In Darwin’s Black Box, Behe maintained that irreducible complexity presents Darwinism with "unbridgeable chasms." How, after all, could a gradual process of incremental improvement build something like a flagellum, which needs all its parts in order to work? Scientists, he argued, must face up to the fact that "many biochemical systems cannot be built by natural selection working on mutations." In the end, Behe concluded that irreducibly complex cells arise the same way as irreducibly complex mousetraps—someone designs them. As he put it in a recent Times Op-Ed piece: "If it looks, walks, and quacks like a duck, then, absent compelling evidence to the contrary, we have warrant to conclude it’s a duck. Design should not be overlooked simply because it’s so obvious." In Darwin’s Black Box, Behe speculated that the designer might have assembled the first cell, essentially solving the problem of irreducible complexity, after which evolution might well have proceeded by more or less conventional means. Under Behe’s brand of creationism, you might still be an ape that evolved on the African savanna; it’s just that your cells harbor micro-machines engineered by an unnamed intelligence some four billion years ago.

There are, of course numerous very serious problems with this line of thought, and almost no professional scientists accept the "irreducible complexity" argument. I won't get into that here (read the article). Rather, what's interesting to me is that Behe's invocation of an "intelligence" is in response to a discovery every bit as dazzling as Newton's. There is an elegance to the workings of the natural world that, for these two men in very different eras and circumstances, seems impossible to accept as a purely unmotivated, random event.

The comparison ends there. Unlike Newton, Behe didn't discover anything in particular. And the complexity of proteins in cells has been known for several decades -- it's even taught in high school -- so it's hardly dazzling in the same way as the physics of the solar system must have been for Newton.

But most importantly, Newton's rationalization was part of a sweeping movement towards secularization that would soon see the idea of God considerably diminished in Philosophy. Within 60 years of Newton's invocation of a kind of Deist God in the Principia (i.e., who sets the machine in motion), there would be Denis Diderot in France, shrugging his shoulders: whether or not God does what Newton says he does doesn't matter to us, since the day-to-day workings of the world operate without divine intervention. Newton's "Intelligent Mechanick" God was not one to inspire fear and trembling, but rather a kind of cerebral -- and voluntary -- appreciation.

In contrast, the Intelligent Design of Behe and Dembski is in support of a belief in God that, for these scientists, resides in an emotional fundament that always trumps the scientific project.

The comparison, in the end, is small, but perhaps it is still worth considering. How do we explain the advent of dazzling complexity in the natural world? Do we depend on our own intelligence to decipher and describe the world, or do we posit the existence of of an Intelligent designer, who made it? I prefer the former, but I can understand how some smart people might not, under the right circumstances.

Sunil Dutt, RIP


Sunil Dutt, one of the great actors of classic Indian cinema, is dead.

After the Jo Boley So Nihal bombings

India is nominally a country with a Constitution guaranteeing Freedom of Speech (Article 19). But there are also clauses in the Indian Constitution (such as Article 25) which effectively cancel that right, because they allow the government to restrict speech that might inflame religious tensions. It is a Partition-era provision, and therefore quite understandable; one could argue it has done as much good as harm over the years.

The Film Censor Board is famous for restricting displays of explicit sexuality in Indian films, but what is less known is that one of its primary responsibilities is the censoring of films that could inflame religious communalism. Thus, even the religious sentiments of the films of the late 1990s -- the Golden Years of Hindutva -- were kept in check somewhat by the demands of the Censor Board.

Whether it does good or harm, the net effect of these restrictions is that the idea of freedom of speech in India is extremely limited when it comes to entertainment for the masses. (In other media--in print, for instance--it seems to me there is effective Freedom of Speech. Printed texts are censored quite rarely.) It is absurdly easy to get a film banned. Slightly offensive or objectionable moments that the Censor Board might allow to pass (at least, until they receive a complaint) also form the basis of massive protest campaigns that themselves inflame religious tensions more than anything in the films themselves. Censorship thus seems to have the oppositve of its stated intention.

The latest incident is the film Jo Bole So Nihal, which led to a pair of terrorist bombings in movie theaters in Delhi yesterday. One person has been killed, and dozens are injured. It's really a sham of a free speech case, because the film at issue can't be construed as "offensive," not in comparison to religious caricatures routinely seen in other Hindi films, and certainly not in comparison to a credible incidence of what in would be called "hate speech" in the U.S.

The little kernel of bad taste in the film is its title, which is part of a Sikh prayer (the Ardas). It is a prayer that, as far as I know, does not originate from the sacred Sikh scripture (the Guru Granth Sahib), so I doubt whether by any fair standard it is "sacred." It is a blessing that comes at the end of the prayer ritual, roughly akin to an 'Amen'. For these reasons, it seems like a stretch to see its use in a secular film as a problem. Furthermore, Jo Bole So Nihal is a comedic film, in which the Sikh protagonist heroically attempts to stop a terrorist (who is a Christian, interestingly) from assasinating the U.S. President. It is a much more positive representation than, for instance, Mission Kashmir a few years ago.

Thus, the main political organization of the Sikhs, the SGPC, was last week lobbying aggressively -- even hysterically -- to ban a movie that has a sympathetic Sikh hero, played by a widely-respected Punjabi actor, in which the symbols of Sikhism are represented positively. Until yesterday, the invocation of "blasphemy" seemed pretty laughable. Only a contentious fool, or an organization composed of contentious fools, could possibly construe things that way.

For me today, then the bombs aren't the issue so much as the irresponsibility of the SGPC's campaign against a film that, in the bigger picture, did not constitute a threat to Sikhism or the Sikh community. The SGPC seems increasingly like an organization desperate for direction, now that their established enemies -- the Congress Party, the Nehru family, the Indian Army's counter-terrorist measures in Punjab -- have either dwindled or transformed. In an era when the Prime Minister is himself a practicing, if secular, Sikh, Sikh organizations in India can no longer claim exclusion or discrimination. They have as a result chosen to mimic the world-wide rhetoric of religious outrage, exemplified in India by the RSS and by conservative Muslim groups. The rhetoric of outrage is, it seems, the primary way in which religious leaders -- around the world, and in every major religious community -- attempt to make themselves relevant to modernity.

Sad to say, this turn to the Politics of Censorship will probably work for the SGPC. The fact that the SGPC's (unsuccessful) campaign against the film was followed by bombings -- awfully convenient, isn't it? -- means that the future campaigns they undertake, no matter how frivolous, will have to be taken seriously. What's more, the bombing will appear to many followers and potential followers as hard evidence of the influence and strength of the SGPC. Terrorism works.

Insofar as no one can publicly challenge the drift towards fundamentalism amongst -- seemingly -- the leadership of all the major religious groups, we are in for more misdirected outrage, more censorship, and yes, more religious violence. It is the surest way to political power.

Unbelievable

See Sepia Mutiny, on the bombing of a movie theater in Delhi.

I'm currently speechless with horror and anger.

There might be a proper blog post on this later...

The Suketu Effect: Bombay in the News

Last week, Somini Sengupta had a piece in the Times on the question of what will happen with the redevelopment of Bombay's mill lands. They were being rapidly developed, but some groups have been fighting the process.

Also, today, there is a piece in Slate on everyday life in Dharavi.

I can't help but wonder about this sudden interest in Bombay from the New York-based media. Might it have something to do with reporters reading Maximum City? Both the redevelopment question and the sprawling slums are discussed in the book...

Incidentally, Somini Sengupta also recently had a piece on the small boom in Pakistan's economy since 9/11 (6.4 percent growth last year, and projected 8 percent growth this year). Some of it is 9/11 related investment, but much of the growth comes from better handling of economic policy. This, I must say, came as a surprise to me.