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It’s hard to remember a major show at a major American museum generating so much angst as Björk at The Museum of Modern Art, New York. Some arts sites quickly began aggregating art critics’ aggravation over almost every detail of the show. What began as art criticism evolved into a media lynching of the MoMA, American museums, and pandering-to-the-public curators (in this case, Klaus Biesenbach). New York art world critics, and husband-and-wife team, Jerry Saltz and Roberta Smith hated the show in different ways, but both connected to their love of Björk and her music. ArtNews’ M.H. Miller wins the poison pen prize, however, for coining the new critical term “starf@#king” to describe the MoMA’s treatment of Björk as much as its treatment of the viewing public. The question of whether Björk is good or not might really be a question of what Björk is really about.
The above photo, taken by Greg Varinot, is part of a larger album you can peruse here.  For all things ocean-related check out our collection of interviews with renowned oceanographer Sylvia […]
On a wide range of contentious issues, academics and researchers publish work that pretends to offer objective evidence, but which on closer inspection turns out to be advocacy masquerading behind intellectualisms, scientific methodology, footnotes and citations, and erudite language. A recent example is a paper by Nassim Nicholas Taleb and colleagues arguing that genetically modified foods pose such a risk to life on Earth that agricultural biotechnology should be banned under a strict application of the Precautionary Principle.
The massive damage humans have done to the natural world has provoked a backlash that could be just as dangerous, or more. There is a growing global rejection of technology and almost anything human-made in favor of whatever is more ‘natural’. But a simplistic rejection of modern technologies eliminates many of our best options for solving the problems we’ve created.