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In a 1977 interview with Glenn O’Brien for the marijuana lifestyle magazine High Times, O’Brien asked Andy Warhol if his teachers recognized his early “natural talent.” “Something like that,” Warhol responded with his characteristic unconventionality, “unnatural talent.” Warhol’s “unnatural talent” quip alluded not only to his mass-produced, machine-like paintings of soup cans and silk screen portraits, but also to his sexual orientation — the “unnatural” life of a homosexual. Just as Warhol turned that verbal double play, art scholar Michael Maizels tries to touch those two bases of Warhol’s art in “Doing It Yourself: Machines, Masturbation, and Andy Warhol” in the Fall 2014 issue of Art Journal. For Maizels, the way that Warhol made art reflected the way Warhol lived his life as a homosexual male in late 20th century America. When we look at Warhol’s art, Maizels suggests, we should see not just a critique of commercialized society and its art, but also a critique of that same society’s sexual tolerance.
Moral sciences are back. Natural laws of ethics, envisioned early in the Enlightenment, can now be objectively studied. Game Theory is reteaching scientists and “rationalists” old wisdoms, while suggesting a “Golden Punishment Rule,” and a Naturalistic Fallacy reform (via “negative telos”).
Lessons from the Universe whenever a light goes out. “End? No, the journey doesn’t end here. Death is just another path, one that we all must take. The grey rain-curtain […]