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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.
New York neuroticism is the obverse of Kantian tranquility: harried, unsatisfied, anxious, perturbed. A life filled with worry and noise rather than one steeped in calm and virtue. But is this necessarily a bad thing? 
While looking at Jean-Antoine Houdon’s portrait bust of Voltaire in the Louvre, sculptor Auguste Rodin remarked, “To tell the truth, there is no artistic work that requires as much penetrating insight as the bust and the portrait. … Such a work is the equivalent of a biography.” On a separate occasion, Rodin stated, “The resemblance that [the artist] should achieve is that of the soul. Only this matters.” A new, full-scale reinstallation at the Rodin Museum in Philadelphia, Pennsylvania, focuses on Rodin putting those words into practice in his own portrait busts. Known for his large-scale, full-bodied works such as The Kiss, Rodin imbued an equal amount of passion into his symbolic, soulful portraits of friends, lovers, and the famous.