Archivo del blog

martes, 25 de enero de 2011

Royal Society meets to weigh up the shrinking kilogram

The ‘international prototype’ kilogram, above, has lost about 50 micrograms since it was cast in 1879 – about the weight of a grain of sand. Photograph: AFP/Getty

Scientists look at alternatives to the mass of platinum used as international standard measure, which has lost 50 micrograms.

Share Alok Jha, science correspondent The Guardian, Monday 24 January 2011 larger | smaller Article history.

For more than a century, all measurements of weight have been defined in relation to a lump of metal sitting in Paris. The "international prototype" kilogram has been at the heart of trade and scientific experiment since 1889, but now experts want to get rid of it.

Today, scientists will meet at the Royal Society in London to discuss how to bring the kilogram into the 21st century, by defining this basic unit of measurement in terms of the fundamental constants of nature, rather than a physical object.

"The kilogram is still defined as the mass of a piece of platinum which, when I was director of the International Bureau of Weights and Measures, I had in a safe in my lab," said Terry Quinn, an organiser of today's meeting. "It's a cylinder of platinum-iridium about 39mm high, 39mm in diameter, cast by Johnson Matthey in Hatton Garden in 1879, delivered to the International Committee on Weights and Measures in Sevres shortly afterwards, polished and adjusted to be made equal in mass to the mass of the old French kilogram of the archives which dates from the time of the French Revolution. Then, in 1889, it was adopted by the first general conference for weights and measures as the international prototype of the kilogram."Many of the other units of scientific measurement rely on the standard definition of the kilogram. A newton of force, for example, is the amount required to accelerate one kilogram at one metre per second squared. The unit of pressure, the pascal, is defined as one newton per unit metre squared.

One problem with using a lump of metal to define such a basic quantity as the kilogram is that it is liable to change over time. Measurements over the past century have shown that the international prototype has lost around 50 micrograms, around the weight of a grain of sand.

"Why should it [the current standard] be stable? It's a piece of platinum cast in London 130 years ago, full of holes, full of hydrogen," said Quinn. "What's on the surface, it's impossible to know. There are all sorts of surface layers of hydrocarbons."

Instead, experts want to link the kilogram to a fundamental unit of measurement in quantum physics, the Planck constant. Using a device called a watt balance, scientists can relate the mass of an object to the electrical energy needed to move it, using the Planck constant.

This redefinition would bring the kilogram into line with the six other base units that make up the International System of Units (SI) – the metre, the second, the ampere, the kelvin, the mole and the candela. None of these are now based on a physical reference object – the metre is defined in terms of the speed of light, for example, while the second is based on atomic clocks.

Any proposals to change the definition of the kilogram would have to be agreed at the General Conference on Weights and Measures, due to meet in Paris later this year.

lunes, 24 de enero de 2011

Light Touch Transforms Material Into a Superconductor

Professor Andrea Cavalleri used laser light to transform a material into a superconductor. (Credit: Image courtesy of University of Oxford)


ScienceDaily (Jan. 24, 2011) — A non-superconducting material has been transformed into a superconductor using light, Oxford University researchers report.

One hundred years after superconductivity was first observed in 1911, the team from Oxford, Germany and Japan observed conclusive signatures of superconductivity after hitting a non-superconductor with a strong burst of laser light.

'We have used light to turn a normal insulator into a superconductor,' says Professor Andrea Cavalleri of the Department of Physics at Oxford University and the Max Planck Department for Structural Dynamics, Hamburg. 'That's already exciting in terms of what it tells us about this class of materials. But the question now is can we take a material to a much higher temperature and make it a superconductor?'

The material the researchers used is closely related to high-temperature copper oxide superconductors, but the arrangement of electrons and atoms normally act to frustrate any electronic current.

In the journal Science, they describe how a strong infrared laser pulse was used to perturb the positions of some of the atoms in the material. The compound, held at a temperature just 20 degrees above absolute zero, almost instantaneously became a superconductor for a fraction of a second, before relaxing back to its normal state.

Superconductivity describes the phenomenon where an electric current is able to travel through a material without any resistance -- the material is a perfect electrical conductor without any energy loss.

High-temperature superconductors can be found among a class of materials made up of layers of copper oxide, and typically superconduct up to a temperature of around -170°C. They are complex materials where the right interplay of the atoms and electrons is thought to 'line up' the electrons in a state where they collectively move through the material with no resistance.

'We have shown that the non-superconducting state and the superconducting one are not that different in these materials, in that it takes only a millionth of a millionth of a second to make the electrons "synch up" and superconduct,' says Professor Cavalleri. 'This must mean that they were essentially already synched in the non-superconductor, but something was preventing them from sliding around with zero resistance. The precisely tuned laser light removes the frustration, unlocking the superconductivity.'

The advance immediately offers a new way to probe with great control how superconductivity arises in this class of materials, a puzzle ever since high-temperature superconductors were first discovered in 1986.

But the researchers are hopeful it could also offer a new route to obtaining superconductivity at higher temperatures. If superconductors that work at room temperature could be achieved, it would open up many more technological applications.

'There is a school of thought that it should be possible to achieve superconductivity at much higher temperatures, but that some competing type of order in the material gets in the way,' says Professor Cavalleri. 'We should be able to explore this idea and see if we can disrupt the competing order to reveal superconductivity at higher temperatures. It's certainly worth trying!'

Creating Simplicity: How Music Fools the Ear


ScienceDaily (Jan. 24, 2011) — What makes music beautiful? The best compositions transcend culture and time -- but what is the commonality which underscores their appeal?

New research published in BioMed Central's open access journal BMC Research Notes suggests that the brain simplifies complex patterns, much in the same way that 'lossless' music compression formats reduce audio files, by removing redundant data and identifying patterns.

There is a long held theory that the subconscious mind can recognise patterns within complex data and that we are hardwired to find simple patterns pleasurable. Dr Nicholas Hudson used 'lossless' music compression programs to mimic the brain's ability to condense audio information. He compared the amount of compressibility of random noise to a wide range of music including classical, techno, rock, and pop, and found that, while random noise could only be compressed to 86% of its original file size, and techno, rock, and pop to about 60%, the apparently complex Beethoven's 3rd Symphony compressed to 40%.

Dr Nicholas Hudson says "Enduring musical masterpieces, despite apparent complexity, possess high compressibility" and that it is this compressibility that we respond to. So whether you are a die hard classicist or a pop diva it seems that we chose the music we prefer, not by simply listening to it, but by calculating its compressibility.

For a composer -- if you want immortality, write music which sounds complex but that, in terms of its data, is reducible to simple patterns.

'Why is it Masterwork?'


"Self-Portrait with a Felt Hat" (1890-1894) by Paul Cezanne BRIDGESTONE MUSEUM OF ART

By YUHEI WADA
Bridgestone Museum of Art

What makes an artwork a masterpiece? Do we just believe museums when they describe works as "remarkable" without considering the art on our own terms? "Why is it Masterwork?" offers a meaningful start to the year's art activities by posing this controversial question.

The Bridgestone Museum of Art has been popular since it was founded in 1952, and it is full of masterpieces. Yet not all the works are familiar or well-known to the general public, meaning that visitors can quite easy overlook important ones. To reignite a passion for all its works, the museum is exhibiting its permanent collection under this surprising title.

While 12 major masterpieces are being exhibited with background information and notes on their important aspects, two works in particular should draw the viewers' undivided attention — "Self-Portrait with a Felt Hat" (1890-1894) by Paul Cezanne and "Saltimbanque Seated with Arms Crossed" (1923) by Pablo Picasso. Cezanne's impressive painting shows off his skill of creating three-dimensional forms using shapes of color, and his powerful facial expression gives the portrait a great presence. This attention to the two-dimensional form of painting, by focusing on color rather than the actual form of his subject, was also an influence on Picasso's distinct style.

Picasso's painting of a young saltimbanque (performance artist) is from the artist's neoclassical period. The performer possesses an accomplished beauty depicted by sharp lines akin to Greek sculpture, which also expressed the energy of youth. The choice of balanced colors reinforces the painting's visual impact and like Cezanne, Picasso emphasizes the two-dimensionality of artwork.

But it is not only Western masterpieces that The Bridgestone Museum should be famous for. Oil paintings by Japanese artists, such as Takeji Fujishima's "Black Fan" (1908-1909), are equally significant to art lovers. Fujishima's European lady holding a black fan in confident, dynamic brush strokes beautifully expresses femininity and inner tenderness.

Many paintings in the museum were collected through the personal connections of Shojiro Ishibashi, the founder of the museum. Just as he must have asked himself when choosing the pieces, you too should take the time to discover why the pieces on display are indeed "masterworks."

Bridgestone Museum of Art is open 10 a.m.-8 p.m. (Sun. and holidays till 10 a.m.-6 p.m.), closed Mon., admission ¥800. For more information, visit www.bridgestone-museum.gr.jp

The lure of the East


Back in vogue: Sir Lawrence Alma-Tadema, "The Finding of Moses", 1904


Orientalism is back in the spotlight with a slew of exhibitions and auction sales
By Georgina Adam | From issue 220, January 2011
Published online 20 Jan 11 (Features)

The last major survey of Orientalist painting dates back to 1984, with the Royal Academy/National Gallery of Art, Washington, DC exhibition “Orientalism in Art”. Since then there have been more focused shows (for instance, Tate’s 2008 “The Lure of the East: British Orientalist Painting”) but no general overviews. This is, of course, a controversial field, which took a considerable battering at the hands of Edward Said. And, in general, 19th-century academic painting is still deeply unfashionable, dismissed as sterile, pompous and pompier.

But now there seems to be a revival of interest in this field, judging by current or upcoming exhibitions—and for Orientalist subjects, the surge is also reflected in the commercial world.

Currently touring Europe is “Orientalism in Europe: from Delacroix to Kandinsky”, a joint show organised by the Musées Royaux des Beaux-Arts in Brussels and the Hypo Cultural Foundation Kunsthalle in Munich. The first major overview since “Orientalism in Art”, the exhibition leaves Brussels at the beginning of this month to open in Germany on 28 January. This summer it will continue to Marseilles (see box and p74 for full listing). A flurry of other shows about the “the Orient” and “the East” are programmed for Saint-Tropez, Lyon, Groninger, Barletta in Italy, Doha and Brussels this year, while Jean-Léon Gérôme is the subject of a major exhibition at the Musée d’Orsay (see below).

Does all this translate as an overall re-evaluation of academic painting and Orientalism in particular, or is it more a reflection of commercial realities, as new money, particularly in the Middle East, drives the market forward?

“For a long time, I have felt that it is utterly unjust that 19th-century painting is neglected, as there is great quality to be had in this field,” says Roger Diederen, curator of the Brussels/Munich show: “Orientalism attracted artists from every country and every artistic predilection; it is such a rich subject,” he says. “It touches upon so many religious, political, and social issues that are still so pertinent to us today, that a show dealing with this subject has lost not the slightest timeliness.”

“There is certainly a re-evaluation in the sense that the old assumptions of the 1980s, that Orientalist paintings are all ethically bad, cannot easily be sustained,” adds Nicholas Tromans, one of the curators of Tate’s “Lure of the East” exhibition. This show coincided with the 30th anniversary of the publication of Said’s seminal book, which derided Orientalism as imperialistic and hegemonic.

That debate rumbles on, but Tromans comments: “On the more academic side, I think a problem has been the attempt to apply Said’s thinking to images, a task that has been done poorly. ‘Orientalism’ in Said’s sense comes into play when we in the West attribute to the ‘Orient’ an inability to look properly, or to look naturally: we assume we see things objectively, but that their vision is hampered by religion and conservative culture; philosophically speaking it is hard to say one visual culture is more natural than another—we can only say they are different.”

Indeed, Gérôme’s “authentic” vision of the Orient was in fact a recreation. He visited the eastern Mediterranean a number of times after 1855; because his many Orientalist paintings were so precisely detailed his vision was taken, at the time, as reality. But his depictions corresponded to the ideas of the time, with their mixture of sensuality and violence.

According to Edouard Papet, co-curator of the Musée d’Orsay exhibition: “Our show is not about rehabilitating Gérôme, nor indeed the whole field of 19th-century painting.” He continues: “Of course he’s academic—although not from 1850 onwards. Our interest is to demonstrate what an extraordinary creator of images he was, and how modern they were,” he says. And he underlines how Gérôme’s “illusion of the truth” influenced Hollywood—notably in Ridley Scott’s film, “Gladiator”. The film director was shown Gérôme’s Pollice Verso, 1872—a gladiator getting the thumbs down. “I knew right then and there I was hooked,” Scott has said.

As for the commercial arena, while 19th-century painting is one of the few areas not to be lifted by the rising tide of a booming art market—indeed, it has been flat for decades—Orientalism seems to be bucking the trend. Art Market Report’s European 19th-century art 100 Index peaked in September 2008 at 10,099 from a base of 1,014 in 1976—a tenfold increase, but relatively low compared with European impressionists who peaked at 26,651 in October 2008 against a base of 1,014 in 1976. Orientalists do better: a separate index of these artists (including Bridgman, Gérôme, Dinet and Goodall) jumped in 2007, and in October 2010 reached its peak—at a buoyant 52,524 (base, 920 in 1976).

“If Orientalism is strong,” says Simon Edsor of London’s Fine Art Society and a specialist in the field, “it is almost entirely because of Middle-Eastern buying.” The gallery held its first exhibition of Orientalist subjects in 1974, a year after the Mathaf Gallery was founded in London.


Jean-Léon Gérôme, Bain Turc or Bain Maure, 1870


In an essay entitled “Bringing it Home? Orientalist Painting and the Art Market”, Tromans notes, “No sooner had the British left the Gulf as imperialists in 1971 than they returned as art dealers. Following the massive marking-up of oil prices after 1973, the Gulf States quickly developed into a significant market for Orientalist paintings, a market managed from London.”

The market has fluctuated quite considerably since: good in the 1980s, flat in the 1990s. At auction, from time to time it has been stand-alone with specialised sales, or included in European 19th-century painting sales—themselves now folded in with Old Masters at Christie’s. “The market [for Orientalist paintings] has always been a bit volatile, it’s quite high risk,” says Christie’s Paris-based specialist Etienne Hellman. “But it is the most dynamic part of the 19th-century painting field at the moment.” Brian MacDermot of Mathaf notes: “Orientalist paintings are selling well, but buyers are more sophisticated today—it’s a price-conscious market.”

What has changed the picture is the arrival of new institutions and collectors. “American buyers have always been important, and now there are Gulf institutions coming in, as well as private collectors in the region,” says Hellman. In Qatar, a cousin of the emir, Sheikh Hassan Al-Thani, has been collecting for over a decade; his collections, and those of the state, are housed in the Orientalist Museum, which is currently closed, although some of the works are on display in the Museum of Islamic Art show, “A Journey into the World of the Ottomans” (see below).

The big story of the last few years has been the arrival of Turkish and Lebanese buyers. A painting by the Turkish Osman Hamdi Bey, A Lady of Constantinople, 1881, made just over £3m at Sotheby’s, London in May 2008. “Turkey is extremely strong for Turkish subjects,” says Hellman, explaining that under Ottoman rule, artists concentrated on calligraphy and the topographical aspects of Orientalist painting. Interestingly, Christie’s took two works from its 26 January New York sale of Old Master and 19th-century paintings to Hong Kong, for the first time, at the end of last year. One was Gérôme’s Master of the Hounds, 1871, set for sale in New York on 26 January (est $700,000-$1m).

In Cairo, a leading collector is Egyptian businessman, Shafik Gabr, who has been buying since 1993, mainly Egyptian and North African work. Among his holdings is Gérôme’s The Blue Mosque, 1878, which appears on the cover of Said’s Orientalism. “There is a critical reassessment of Orientalists,” says Gabr. “At one point people diminished their work, but when you look at its quality, the accuracy, the detail, this is being recognised now.”

jueves, 20 de enero de 2011

Scientists View Genome as It Turns on and Off Inside Cells


ScienceDaily (Jan. 19, 2011) — UCSF researchers have developed a new approach to decoding the vast information embedded in an organism's genome, while shedding light on exactly how cells interpret their genetic material to create RNA messages and launch new processes in the cell.

By combining biochemical techniques with new, fast DNA-sequencing technology and advanced computer technology, the team was able to examine with unprecedented resolution how a cell converts DNA into RNA -- a molecular cousin of DNA that is used in the process of creating proteins that govern most biological functions. And they did so within the cell itself, rather than in a test tube.

As a result, they were able to bridge an important gap in the understanding of what causes genes to be turned on and off. Their findings will appear in the Jan. 20 issue of the journal Nature.

The main way the genome is "read" in a cell is through its transcription into RNA, the researchers explained. Until now, scientists have been able to detect which RNAs were produced, but have had a limited view of how much of the genome was being decoded, or "transcribed," or what controls how fast these RNAs are made. The new technique enables them to watch this process directly.

"This lets you capture the cell in the process of turning the DNA into RNA at unprecedented resolution," said Jonathan S. Weissman, PhD, a professor in the UCSF Department of Cellular and Molecular Pharmacology and senior author on the paper. "Before, we were typically studying the end product. Now, we can directly watch how these RNA messages are produced in vivo."

The advance enables researchers to make sense of the vast amounts of data generated by the Human Genome Project and the multiple genome sequencing efforts worldwide, while providing new tools for studying basic processes like the reprogramming of stem cells, Weissman said.

"The genome is the hard drive of the cell," explained L. Stirling Churchman, PhD, who was the first author of the two-author paper and last year was honored for this work with the Dale F. Frey for Breakthrough Scientists award of the Damon Runyon Cancer Research Foundation. "Until now, we've been able to see the information that the hard drive contains as well as see the result after the cell has read that information, but we didn't know which precise data it was accessing.

"Here, we've been able to see which data it is accessing, with a high enough resolution to also be able to see how it's actually working," she said.

Until quite recently, many scientists thought that less than 5 percent of the human genome was actually transcribed into RNA and therefore used in the cell's function, Churchman said. Recent advances in the field have revealed a tremendous complexity in that process, with new understanding that the majority of DNA is transcribed. Much of the product is still considered "junk RNA" -- simply a byproduct of the process.

"Now, the question is not, 'Why is that DNA there?' but, 'Why is that RNA there?'" said Churchman, a physicist and post-doctoral scholar at UCSF. "It could be junk RNA, but we don't know."

The research focused on DNA transcription in baker's yeast, largely because that organism's genome has been extensively studied. As a result, previous scientists had already developed maps of the genome and identified the positions of nucleosomes along it. Nucleosomes are grape-like structures formed by strands of DNA wrapped like vines around histone proteins, and serve to organize enormously long DNA molecules.

Histone proteins are known to have many marks that dictate whether a gene should be turned on or off, among other functions, while retaining a history of what has happened recently in that part of the gene code and a "plan" for what should happen in the future.

By overlaying those maps with their own maps of RNA production, the scientists were able to observe for the first time that polymerase comes in direct contact with the histone proteins during the transcription process, while also seeing how the nucleosomes acted as a speed bump for the polymerase enzyme as it moved along the genome transcribing DNA into RNA. In addition, the research showed that the organization of histone marks controlled whether "junk RNA" was produced from a given region of DNA.

This new approach gives researchers a precise view of the process in action, as well as insights on general trends in how histone proteins and their marks affect transcription.

"There is a long history of trying to look at how genes are turned on," Weissman said. "So far, nothing has been analogous at this resolution and depth."

The research was supported by the Damon Runyon Cancer Research Foundation and by the Howard Hughes Medical Institute. The authors declare no conflicts of interest.

Churchman and Weissman were the sole co-authors on the paper. Both are affiliated with the UCSF Department of Cellular and Molecular Pharmacology and the California Institute for Quantitative Biosciences, at UCSF. Weissman is also an investigator with the Howard Hughes Medical Institute.

Art world up in arms at “light bulb” law


A bit dim: the ruling suggests that tax officials may have little idea what art actually is


Could the ruling on light works and higher import taxes face a legal challenge?
By Cristina Ruiz | From issue 220, January 2011
Published online 13 Jan 11 (Market)

A bit dim: the ruling suggests that tax officials may have little idea what art actually is

london. The art world has reacted with astonishment to a European ruling which has determined that works by Bill Viola and Dan Flavin, when disassembled, should not be considered works of art for tax ­purposes. Dealers warn that the decision will inhibit the European art trade.

The ruling, which is binding on all EU countries, overturns decisions taken in British and Dutch courts, was made by the European Commission (The Art Newspaper, December 2010, p59) and means that galleries and auction houses will be charged full VAT—as opposed to the much lower import duties which apply to art—when importing disassembled works made from components such as light fittings or household appliances into Europe. For example, UK trade will have to pay 20% tax rate instead of 5%.

This has led to a bizarre situation. While customs authorities can classify works as “wall light fittings” rather than art when considering the import duties (so charging the highest tax rate), the overall tax value can still be based on the works’ value as “sculpture”—inevitably much more expensive than the value of a cheap light fitting.

“The logic does not hold up,” said Sandy Nairne, director of the National Portrait Gallery. He served as an expert witness in the case on which the decision centres. Haunch of Venison gallery had appealed a UK Customs decision to classify six disassembled installations by Bill Viola and a light installation by Dan Flavin as light fittings instead of art. The case, which was heard by a UK tax tribunal in 2008, ruled in Haunch’s favour—and it is this decision which the EC has overturned.

In his testimony, Nairne argued: “We have a history of well over 100 years of art that can appear to be made of ordinary things that have other uses. It is very common for sculptures to be shipped in parts. The fact that the work in transit is not like a work of art could apply to a large bronze figurative sculpture—an Anthony Caro piece would not necessarily travel as a whole sculpture in a single box.” He added: “The question of ‘is this the sculpture?’ is not to do with what it looks like when it is in customs but what it looks like assembled.” Referring to works by Viola and Flavin, Nairne said: “You can’t just take light bulbs out of a household appliance store and make a work of art. The artists specified every minute part of the work’s construction.”

One way around the ruling could be for importers and artists (or their estates) to agree an estimated value of the sculptures at the cost of replacing the component parts. Nairne, however, does not believes this is a satisfactory solution. “Even if works are shipped at replacement value, it still doesn’t change the question on which the ruling turned—which was about a factual definition of what art is.”

“This decision makes no sense,” agreed Matthew Slot­over, co-director of London’s Frieze art fair. He suggested that a possible solution could be to import the components of light sculptures as light fittings, but then ascribe value based on the authenticating certificate which customarily accompanies a work of art.

While the European ruling can be challenged in the courts of any member country, it remains to be seen whether any gallery or collector will embark on this expensive legal process given the current financial climate. “Now is not necessarily the time when this ruling will be successfully challenged,” said David Maupin, whose New York gallery Lehmann Maupin represents several artists who work with materials such as neon, film, photography and video.

Christopher Battiscombe, director of the Society of London Art Dealers, describes the ruling as “regrettable” and said it could hinder the EU art trade. However, he added that the society does not have the funds to support an appeal financially, although it would be prepared to support it in other ways.

European definition of art is absurd


According to EU legislation, works such as Bill Viola's "Isolde's Ascension (The Shape of Light in Space after Death)", 2005, may not be classified as art


The fact that the European Commission can, without any public consultation or publicity, overrule the decision of two national tribunals, makes a mockery of the judicial process

By Pierre Valentin | From issue 220, January 2011
Published online 13 Jan 11 (Opinion)

According to EU legislation, works such as Bill Viola's "Isolde's Ascension (The Shape of Light in Space after Death)", 2005, may not be classified as art

On 11 August 2010, the European Commission decided that a video installation should be classified as “DVD players and projectors”, and a light installation as “light fittings” when imported into the European Union [a decision which came to public attention last month, see The Art Newspaper, December 2010, p59, and which could have widespread implications for the art trade, see p58].

The two works, Hall of Whispers, 1995, by Bill Viola and Six Alternating Cool White/Warm White Fluorescent Lights Vertical and Centred, 1973, by Dan Flavin, had been the subject of a dispute between Haunch of Venison, the contemporary art gallery, and the UK’s HM Revenue & Customs (HMRC) in 2006. HMRC had sought to classify these installations not as works of art but as projectors and light fittings. This meant that instead of applying the reduced rate of value added tax of 5%, it applied the then standard rate of 17.5%, and customs duty of 3.7%. Extraordinarily, it sought to apply these taxes not on the value of the components but on the market value of the works.

The dispute over Hall of Whispers was eventually superseded by a dispute over six other works by Viola, which eventually went before a VAT tribunal in London. In its judgment in December 2008 it decided that Viola’s and Flavin’s installations were sculptures and should have been taxed at the reduced rate of VAT and not attracted customs duty. HMRC did not appeal the decision. There the matter should have rested.

But a Freedom of Information request that I submitted has revealed that within weeks of the London decision, the issue was on the agenda of the European Commission’s Customs Code Committee in Brussels. Several member states reported that their tax authorities had considered the issue of video art previously. The meeting was told that in two members states (the UK and the Netherlands), a VAT tribunal had held that video installations should be classified as sculptures. By April 2009, without apparent further consultation, the committee decided that “a draft regulation will be prepared for a future meeting. This will overturn that UK [and Dutch] National Court decisions.” This eventually became EU regulation 731/2010.

The commission’s reasoning is odd, to say the least. First it rejected the classification of Hall of Whispers as sculpture because “the components have been slightly modified by the artist but these modifications do not alter their preliminary functions of [video players and loudspeakers]”. Does this suggest that the owner of a Viola video installation would use it to watch “Gone with the Wind”? It then states that “it is the content recorded on the DVD which, together with the components of the installation, provides for the modern art”. The commission does not explain why the combination of the image and the other components cannot constitute a sculpture.

Turning to the Flavin, it rejected the classification as sculpture because “it is not the installation that constitutes a ‘work of art’ but the result of the operations (the light effect) carried out by it”. Does this mean that if a Flavin is switched on, it is a work of art, but if switched off, it is not?

The regulation came into force on 3 September 2010. Under it, the goods described are now subject to import VAT at the new UK standard rate of 20% and customs duty at an expected rate of 3%-4%. An important question is whether the regulation applies solely to the goods described, namely Hall of Whispers and Six Alternating Cool White/Warm White Fluorescent Lights, or whether it applies to video and light installations generally. The general principle is that a customs regulation applies to identical goods: national tax authorities regularly seek to argue that tariff classification regulations apply to similar products by analogy, and there is little doubt that HMRC will seek to make that argument in this case. However, the European Court of First Instance has held that the application of a tariff classification by analogy to similar products “calls for great care”. Each case must be decided on its merits.

Another important question is the value on which the tax will be calculated. Will it be the value of a second-hand projector, or will it be the market value of the work of art? During the Haunch of Venison case, HMRC suggested that it would apply the rate to the value as a work of art. The basis of taxation was not considered by the VAT tribunal, and the commission regulation is silent on the subject. While it makes no sense to tax second-hand “projectors” or “light fittings” on the market value of an artwork by Viola or Flavin, national tax authorities states may well seek to do so.

Can the regulation be challenged? An action may be brought before the European Court of First Instance in Luxembourg for annulment of the regulation. Before doing this, an applicant must pass an admissibility test by showing that he or she is directly and individually concerned by the regulation, which means it is unlikely that an action by anyone other than possibly Haunch of Venison would be declared admissible in Luxembourg.

The other avenue of challenge is an action in the national courts of any of the EU member states. If HMRC sought to rely on the regulation to tax the importation of a video or light installation at the higher rate, and such an attempt was resisted by the importer, the dispute could once again be brought before a UK VAT tribunal. The tribunal or the appeal court might refer questions of interpretation to the European Court of Justice, which could lead to a decision in the UK to decline to apply the regulation.

The EU regulation is a patently absurd piece of legislation. Adopted behind closed doors, without an apparent understanding of the subject matter, it reverses two national judicial decisions that both ruled that video installations should be classified as art. No judge had decided the issue in any other way. There was no need for the regulation, which is contrary to the jurisprudence of the European Court of Justice. On a more general note, the fact that the European Commission can, without any public consultation or publicity, overrule the decision of two national tribunals, makes a mockery of the judicial process.

The writer heads the Art and Cultural Assets Group of Withers LLP, London

domingo, 16 de enero de 2011

'Gallery rage' mars the Tate's record-breaking Gauguin show


Crowds flocked to the artist's first major British exhibition in 50 years, which ends today. But many left disappointed and angered by the scrum around every painting

Share Comments (…) Vanessa Thorpe The Observer, Sunday 16 January 2011 larger | smaller Article history

The crowds were huge, the buzz a testimony to the booming interest in Britain's major art galleries. But was the much-heralded Gauguin exhibition at London's Tate Modern, which closes today, just a bit too successful for its own good?

Gauguin: Maker of Myth has drawn what is thought to be a record number of visitors to a Tate exhibition, but many of them left the building in a state of what one prominent art critic called "gallery rage".

The crowding in front of the paintings on display was so bad, according to angry art fans and critics, that they have vowed never to go to such a big show again. A fraught debate is now expected in the art world over the need for different forms of crowd control for Britain's major art shows.

"It is a magnificent exhibition, but very hard indeed to enjoy," said John Capel, 75, from Edenbridge, Kent, who visited last week. "My wife uses a stick and she rightly decided not to come in when we heard how crowded it was. She would not have lasted two minutes in there."

There were early signs the popularity of the exhibition would stretch capacity when advance box office records were broken and the tickets for several of the allocated time slots sold out before doors opened last autumn. Visitors were warned they might have to queue to get in but, once inside the gallery, many have complained they also had to queue to look at individual pictures.

Parents with baby buggies, groups of schoolchildren, art students and middle-aged art lovers all competed for elbow room as exhibition staff moved crowds on in what some visitors have described as the art world equivalent of "kettling", the police crowd control tactic.

Art critic William Feaver echoed demands for smaller, calmer shows that allow artworks to be enjoyed as intended by the artist.

"You get this sort of gallery rage because people can't just pop in for 10 minutes at a time and look at a few paintings," he said. "If you have come in from out of town or from abroad you have to save it all up for one visit and then you get a headache, and eye strain. The whole thing becomes a pilgrimage that is better relived later, looking at the catalogue at home."

Feaver felt the Gauguin show was "over-extended" in comparison with the "exemplary" Cézanne exhibition at the Courtauld Gallery on the other side of the Thames. "I wish shows could be smaller and crowds more dispersed, but we are caught in a bind because people want their money's worth if they have paid more than £12 for a ticket."

Messages on the Tate internet message board indicate the crowding problem has dogged the show from its first weeks. In early November, Roy Rampling wrote: "Wonderful collection of works and interesting exhibitions. However, the overcrowding meant that it was extremely difficult to appreciate the work, which was a real pity," and later visitor Will McDonnell agreed: "A good exhibition sadly marred by the gross overcrowding. I shuffled along with so many others struggling to see past the backs of so many heads. Tate should consider limiting the numbers and maybe I don't get in, but it would make it a satisfying experience for those who do."

This weekend the gallery defended its handling of visitors and said the final attendance figures gathered tomorrow may confirm the Gauguin as its most popular show ever. "As with all Tate's exhibitions, we allocate tickets with staggered entry times to minimise overcrowding," a spokesman said. "To help meet additional demand, Gauguin: Maker of Myth has remained open until 10pm on Sunday evenings."

The Tate show was the first to celebrate the work of Gauguin in Britain for 50 years and it put together more than 100 of his works, including some from Russia never seen in this country. Critics such as Rachel Campbell-Johnston of the Times hailed it as "the show of the season – in fact of the whole year" when it opened, while the Guardian's Adrian Searle praised the curators for rescuing Gauguin's reputation "as the amoral, dissolute monster of trashy biopics".

The show included all four of his great religious paintings – Vision of the Sermon, The Yellow Christ, Breton Calvary and Christ in the Garden of Olives – and also displayed a letter from the artist to his wife Mette which revealed he had stayed in touch from Tahiti.

Foreign art lovers who travelled across Europe to the Tate show have also complained. "It was more than overcrowded and sometimes impossible to have a look at certain paintings. A real pity," wrote Evelyn Watzka. Two years ago the head of the National Gallery, Nicholas Penny, also called for art shows that featured just one or two paintings at a time. More recently Penny clarified his views, saying "I've no problem with popular exhibitions, merely with exhibitions designed primarily to be popular."

Eric Hobsbawm: a conversation about Marx, student riots, the new Left, and the Milibands


Eric Hobsbawm, left, in conversation with Tristram Hunt. Photograph: Karen Robinson

As he publishes his latest book, 93-year-old historian Eric Hobsbawm talks communism and coalition with one of Britain's newer breed, Tristram Hunt, now a Labour MP
Share

Tristram Hunt The Observer, Sunday 16 January 2011 larger | smaller Article history

Hampstead Heath, in leafy north London, is proud of its walk-on part in the history of Marxism. It was here, on a Sunday, that Karl Marx would walk his family up Parliament Hill, reciting Shakespeare and Schiller along the way, for an afternoon of picnics and poetry. On a weekday, he would join his friend Friedrich Engels, who lived close by, for a brisk hike around the heath, where the "old Londoners", as they were known, mulled over the Paris Commune, the Second International and the nature of capitalism.

Today, on a side road leading off from the heath, the Marxist ambition remains alive in the house of Eric Hobsbawm. Born in 1917 (in Alexandria, under the British protectorate of Egypt), more than 20 years after both Marx and Engels had died, he knew neither man personally, of course. But talking to Eric in his airy front room, filled with family photos, academic honours and a lifetime of cultural objets, there is an almost tangible sense of connection to the men and their memory.

The last time I interviewed Eric, in 2002, his brilliant autobiography Interesting Times – chronicling a youth in Weimar Germany, a lifetime's love of jazz and his transformation of the study of history in Britain – had appeared to great acclaim. It was also amid another cyclical media attack, in the wake of Martin Amis's anti-Stalin book Koba the Dread, on Eric's membership of the Communist party. The "Marxist professor" of Daily Mail ire did not seek, as he put it, "agreement, approval or sympathy", but, rather, historical understanding for a 20th-century life shaped by the struggle against fascism.

Since then things have changed. The global crisis of capitalism, which has wreaked havoc on the world economy since 2007, has transformed the terms of debate.

Suddenly, Marx's critique of the instability of capitalism has enjoyed a resurgence. "He's back," screamed the Times in the autumn of 2008 as stock markets plunged, banks were summarily nationalised and President Sarkozy of France was photographed leafing through Das Kapital (the surging sales of which pushed it up the German bestseller lists). Even Pope Benedict XVI was moved to praise Marx's "great analytical skill". Marx, the great ogre of the 20th century, had been resuscitated across campuses, branch meetings and editorial offices.

So there seemed no better moment for Eric to bring together his most celebrated essays on Marx into a single volume, together with new material on Marxism in light of the crash. For Hobsbawm, the continual duty to engage with Marx and his multiple legacies (including, in this book, some fine new chapters on the meaning of Gramsci) remains compelling.

But Eric himself has changed. He suffered a nasty fall over Christmas and can no longer escape the physical constraints of his 93 years. But the humour and the hospitality of himself and his wife, Marlene, as well as the intellect, political incisiveness and breadth of vision, remain wonderfully undimmed. With a well-thumbed copy of the Financial Times on the coffee table, Eric moved seamlessly from the outgoing President Lula of Brazil's poll ratings to the ideological difficulties faced by the Communist party in West Bengal to the convulsions in Indonesia following the 1857 global crash. The global sensibility and lack of parochialism, always such a strength of his work, continue to shape his politics and history.

And after one hour of talking Marx, materialism and the continued struggle for human dignity in the face of free-market squalls, you leave Hobsbawm's Hampstead terrace – near the paths where Karl and Friedrich used to stroll – with the sense you have had a blistering tutorial with one of the great minds of the 20th century. And someone determined to keep a critical eye on the 21st.


Tristram Hunt At the heart of this book, is there a sense of vindication? That even if the solutions once offered by Karl Marx might no longer be relevant, he was asking the right questions about the nature of capitalism and that the capitalism that has emerged over the last 20 years was pretty much what Marx was thinking about in the 1840s?


Eric Hobsbawm Yes, there certainly is. The rediscovery of Marx in this period of capitalist crisis is because he predicted far more of the modern world than anyone else in 1848. That is, I think, what has drawn the attention of a number of new observers to his work – paradoxically, first among business people and business commentators rather than the left. I remember noticing this just around the time of the 150th anniversary of the publication of The Communist Manifesto, when not very many plans were being made for celebrating it on the left. I discovered to my amazement that the editors of the [in-flight] magazine of United Airlines said they wanted to have something about the Manifesto. Then, a bit later on, I was having lunch with [financier] George Soros, who asked: "What do you think of Marx?" Even though we don't agree on very much, he said to me: "There's definitely something to this man."


TH Do you get the sense that what people such as Soros partly liked about Marx was the way he describes so brilliantly the energy, iconoclasm and potential of capitalism? That that's the part that attracted the CEOs flying United Airlines?


EH I think that it is globalisation, the fact that he predicted globalisation, as one might say a universal globalisation, including the globalisation of tastes and all the rest of it, that impressed them. But I think the more intelligent ones also saw a theory that allowed for a sort of jagged development of crisis. Because the official theory in that period [the late 1990s] theoretically dismissed the possibility of a crisis.


TH And this was the language of "an end to boom and bust" and going beyond the business cycle?


EH Exactly. What happened from the 1970s on, first in the universities, in Chicago and elsewhere and, eventually, from 1980 with Thatcher and Reagan was, I suppose, a pathological deformation of the free-market principle behind capitalism: the pure market economy and rejection of state and public action that I don't think any economy in the 19th century actually practised, not even the USA. And it was in conflict with, among other things, the way in which capitalism had actually worked in its most successful era, between 1945 and the early 1970s.


TH By "successful", you mean in terms of raising living standards in the postwar years?


EH Successful in that it both made profits and ensured something like a politically stable and socially relatively contented population. It wasn't ideal, but it was, shall we say, capitalism with a human face.


TH And do you think that the renewed interest in Marx was also helped by the end of the Marxist/Leninist states. The Leninist shadow was taken away and you were able to return to the original nature of Marxian writing?


EH With the fall of the Soviet Union, the capitalists stopped being afraid and to that extent both they and we could actually look at the problem in a much more balanced way, less distorted by passion than before. But it was more the instability of this neoliberal globalised economy that I think began to become so noticeable at the end of the century. You see, in a sense, the globalised economy was effectively run by what one might call the global north-west [western Europe and North America] and they pushed forward this ultra-extreme market fundamentalism. Initially, it seemed to work quite well – at least in the old north-west – even though from the start, you could see that at the periphery of the global economy it created earthquakes, big earthquakes. In Latin America, there was a huge financial crisis in the early 1980s. In the early 1990s, in Russia, there was an economic catastrophe. And then towards the end of the century, there was this enormous, almost global, breakdown ranging from Russia to [South] Korea, Indonesia and Argentina. This began to make people think, I feel, that there was a basic instability in the system that they had previously dismissed.

TH There has been some suggestion to say that the crisis we've seen since 2008 in terms of America, Europe and Britain isn't so much a crisis of capitalism, per se, but of the modern west's finance capitalism. Meanwhile, Brazil, Russia, India and China – "Bric" – are growing their economies on increasingly capitalist models at the same time. Or is this simply our turn to suffer the crises they had 10 years ago?


EH The real rise of the Bric countries is something that has happened in the past 10 years, 15 years at most. So to that extent you can say that it was a crisis of capitalism. On the other hand, I think there's a risk in assuming, as neoliberals and free marketeers do, that there's only one type of capitalism. Capitalism is, if you like, a family, with a variety of possibilities, from the state-directed capitalism of France to the free-market of America. It's therefore a mistake to believe that the rise of the Bric countries is simply the same thing as the generalisation of western capitalism. It isn't: the only time they tried to import free-market fundamentalism wholesale was into Russia and there it became an absolutely tragic failure.


TH You raised the issue of the political consequences of the crash. In your book, you drop an insistence on looking at the classic texts of Marx as providing a coherent political programme for today, but where do you think Marxism as a political project goes now?


EH I don't believe that Marx ever had, as it were, a political project. Politically speaking, the specific Marxian programme was that the working class should form itself into a class-conscious body and act politically to gain power. Beyond that, Marx quite deliberately left it vague, because of his dislike of utopian things. Paradoxically, I would even say that the new parties were largely left to improvise, to do what they could do without any effective instructions. What Marx had written about simply amounted to little more than clause IV-style ideas about public ownership, nowhere actually near enough to provide a guidance to parties or ministers. My view is that the main model that 20th-century socialists and communists had in mind was the state-directed war economies of the first world war, which weren't particularly socialist but did provide some kind of guidance on how socialisation might work.

TH Are you not surprised by the failure of either a Marxian or a social democratic left to exploit the crisis of the last few years politically? We sit here some 20 years on from the demise of one of the parties you most admire, the Communist party in Italy. Are you depressed by the left's state at the moment in Europe and beyond?


EH Yes, of course. In fact, one of the things I'm trying to show in the book is that the crisis of Marxism is not only the crisis of the revolutionary branch of Marxism but in the social democratic branch too. The new situation in the new globalised economy eventually killed off not only Marxist-Leninism but also social democratic reformism – which was essentially the working class putting pressure on their nation states. But with globalisation, the capacity of the states to respond to this pressure effectively diminished. And so the left retreated to suggest: "Look, the capitalists are doing all right, all we need to do is let them make as much profit and see that we get our share."

That worked when part of that share took the form of creating welfare states, but from the 1970s on, this no longer worked and what you had to do then was, in effect, what Blair and Brown did: let them make as much money as possible and hope that enough of it will trickle down to make our people better off.


TH So there was that Faustian bargain that during the good times, if the profits were healthy and investment could be secured for education and health, we didn't ask too many questions?


EH Yes, so long as the standard of living improved.


TH And now with the profits falling away, we are struggling for answers?


EH Now that we're going the other way with western countries, where economic growth is relatively static, even declining, then the question of reforms becomes much more urgent again.


TH Do you see as part of the problem, in terms of the left, the end of a conscious and identifiable mass working class, which was traditionally essential to social democratic politics?


EH Historically, it is true. It was around the working-class parties that social democratic governments and reforms crystallised. These parties were never, or only rarely, completely working class. They were, to some extent, always alliances: alliances with certain kinds of liberal and leftwing intellectuals, with minorities, religious and cultural minorities, possibly many countries with different kinds of working, labouring poor. With the exception of the United States, the working class remained a massive, recognisable bloc for a long time – certainly well into the 1970s. I think the rapidity of deindustrialisation in this country has played hell with not only the size but also, if you like, the consciousness of the working class. And there is no country now in which the pure industrial working class in itself is sufficiently strong.

What is still possible is that the working class forms, as it were, the skeleton of broader movements of social change. A good example of this, on the left, is Brazil, which has a classic case of a late-19th-century Labour party based on an alliance of trade unions, workers, the general poor, intellectuals, ideologists and varying kinds of left [wingers], which has produced a remarkable governing coalition. And you can't say it's an unsuccessful one after eight years of government with an outgoing president on 80% approval ratings. Today, ideologically, I feel most at home in Latin America because it remains the one part of the world where people still talk and conduct their politics in the old language, in the 19th- and 20th-century language of socialism, communism and Marxism.


TH In terms of Marxist parties, something that comes out very strongly in your work is the role of intellectuals. Today, we see enormous excitement on campuses such as yours at Birkbeck, with meetings and rallies. And if we look at the works of Naomi Klein or David Harvey or the performances of Slavoj Zizek, there's real enthusiasm. Are you excited by these public intellectuals of Marxism today?

EH I'm not sure there has been a major shift, but there's no doubt: over the present government cuts there will be a radicalisation of students. That's one thing on the positive side. On the negative side… if you look at the last time of massive radicalisation of students in '68, it didn't amount to all that much. However, as I thought then and still think, it's better to have the young men and women feel that they're on the left than to have the young men and women feel that the only thing to do is to go and get a job at the stock exchange.


TH And do you think men such as Harvey and Zizek play a sort of helpful role in that?

EH I suppose Zizek is rightly described as a performer. He has this element of provocation that is very characteristic and does help to interest people, but I'm not certain that people who are reading Zizek are actually drawn very much nearer rethinking the problems of the left.


TH Let me move from west to east. One of the urgent questions you ask in this book is whether the Chinese Communist party can develop and respond to its new place on the global stage.

EH This is a big mystery. Communism's gone, but one important element of communism remains, certainly in Asia, namely the state Communist party directing society. How does this work? In China, there is, I think, a higher degree of consciousness of the potential instability of the situation. There is probably a tendency to provide more elbow room for a rapidly growing intellectual middle class and educated sectors of the population, which, after all, will be measured in tens, possibly hundreds of millions. It's also true that the Communist party in China appears to be recruiting a largely technocratic leadership.

But how you pull all this stuff together, I don't know. The one thing that I think is possible with this rapid industrialisation is the growth of labour movements, and to what extent the CCP can find room for labour organisations or whether they would regard these as unacceptable, in the way they regarded the Tiananmen Square demonstrations [as unacceptable], is unclear.


TH Let's talk about politics here in Britain, to get your sense of the coalition. It seems to me there's a 1930s air to it in terms of its fiscal orthodoxy, spending cuts, income inequalities, with David Cameron as an almost Stanley Baldwin figure. What is your reading of it?


EH Behind the various cuts being suggested, with the justification of getting rid of the deficit, there clearly seems to be a systematic, ideological demand for deconstructing, semi-privatising, the old arrangements – whether it's the pension system, welfare system, school system or even the health system. These things in most cases were not actually provided for either in the Conservative or the Liberal manifesto and yet, looking at it from the outside, this is a much more radically rightwing government than it looked at first sight.


TH And what do you think the response of the Labour party should be?


EH The Labour party on the whole has not been a very effective opposition since the election, partly because it spent months and months electing its new leader. I think the Labour party should, for one thing, stress much more that for most people in the past 13 years, the period was not one of collapse into chaos but actually one where the situation improved, and particularly in areas such as schools, hospitals and a variety of other cultural achievements – so the idea that somehow or other it all needs to be taken down and ground into the dust is not valid. I think we need to defend what most people think basically needs defending and that is the provision of some form of welfare from the cradle to the grave.


TH You knew Ralph Miliband, as the Miliband family are old friends. What do you think Ralph would have made of the contest between his sons and the outcome of Ed leading the party?


EH Well, as a father, he obviously couldn't help but be rather proud. He would certainly be much to the left of both of his sons. I think that Ralph was really identified for most of his life with dismissing the Labour party and the parliamentary route – and hoping that somehow it would be possible that a proper socialist party could come into being. When Ralph finally got reconciled to the Labour party, it was in the least useful period, namely in the Bennite period when it didn't really do much good. None the less, I think Ralph would certainly have hoped for something much more radical than his sons have so far looked like doing.


TH The title of your new book is How to Change the World. You write, in the final paragraph, that "the supersession of capitalism still sounds plausible to me". Is that hope undimmed and does that keep you working and writing and thinking today?


EH There's no such thing as undimmed hope these days. How to Change the World is an account of what Marxism fundamentally did in the 20th century, partly through the social democratic parties that weren't directly derived from Marx and other parties – Labour parties, workers' parties, and so on – that remain as government and potential government parties everywhere. And second, through the Russian Revolution and all its consequences.

The record of Karl Marx, an unarmed prophet inspiring major changes, is undeniable. I'm quite deliberately not saying that there are any equivalent prospects now. What I'm saying now is that the basic problems of the 21st century would require solutions that neither the pure market, nor pure liberal democracy can adequately deal with. And to that extent, a different combination, a different mix of public and private, of state action and control and freedom would have to be worked out.

What you will call that, I don't know. But it may well no longer be capitalism, certainly not in the sense in which we have known it in this country and the United States.

In this wide-ranging 2002 conversation with Tristram Hunt, Eric Hobsbawm reveals how he continues to believe in a spirit of progress as the surest route for happiness.

guardian.co.uk © Guardian News and Media Limited 2011

jueves, 13 de enero de 2011

Top 10 Composers: Which 20th-Century Masters Will Make the Cut?


Debussy, Clair de lune.

By ANTHONY TOMMASINI

Over the next two weeks Anthony Tommasini is exploring the qualities that make a classical composer great, maybe even the best of all time. Watch videos and vote for your own top 10 here and read previous posts here and share your thoughts in the comments field. Mr. Tommasini’s final list will be posted on Jan. 21.

The 19th century will pose the toughest calls in our whimsical attempt to identify the top 10 classical composers of all time. Think of Chopin, Schumann, Berlioz, Liszt, Brahms, Tchaikovsky. And what about Verdi and Wagner? So let me deal with the 20th century first, see how many slots might still be left, and work backward.

Though Debussy was born in 1862 and died in 1918, this path-breaker has to be considered a 20th-century giant. After some 300 years of pulsating Germanic music, for Debussy to come along and write such hauntingly restrained, ethereal, time-stands-still works was a shock to the system. His thick yet transparent block chords; his harmonies tinged with ancient modal elements; his preference for whole-tone scales that loosened music’s moorings to traditional tonality; his mastery of delicate orchestral colorings and new ways of writing for the piano: all this and more made him the father of modern music. Composers from Stravinsky to Boulez would have been impossible without Debussy’s example.

For the subject of his only complete opera he chose Maeterlinck’s “Pelléas et Mélisande,” a groundbreaking work of Symbolist theater from 1893. Debussy’s Impressionist music, full of veiled harmonies, blurry textures and emotional ambiguity, hauntingly taps the subliminal stirrings of this mysterious story of a sullen royal family in a timeless, placeless kingdom. In the Metropolitan Opera’s recent production Simon Rattle, in his Met debut, conducted a stunning account of this unorthodox opera, first performed in 1902. What other 20th-century work continues to sound as radical?

Stravinsky, by the way, though I am still formulating this list, will surely make the cut. One fascinating element of his achievement is that among a very select roster of great composers in history, Stravinsky is the only one to have made his reputation by writing ballet scores, with the possible exception of Tchaikovsky.

Everyone acknowledges the impact of Stravinsky’s Paris ballets, especially that all-time stunner “The Rite of Spring” from 1913. His later work with the choreographer George Balanchine was one of the most important collaborations in the history of the arts. Stravinsky was inspired to write astonishing scores for Balanchine, like “Orpheus” and “Apollo.” But Balanchine found Stravinsky’s music so choreographic that he seized even on pieces like the Violin Concerto and the late, 12-tone Movements for Piano and Orchestra and conscripted them for duty in ballet.

Stravinsky’s works during his lengthy period of Neo-Classicism are still underappreciated. I love that these pieces are, essentially, music about other music. “The Rake’s Progress” is an ingenious, amusing and profound opera on its own terms. It is also Stravinsky’s savvy, admiring musical commentary on Mozart opera. When he finally started writing 12-tone works (adapting the technique to his own ends), even those scores were Neo-Classical in a sense. The 12-tone thing had been around for a while, and the movement was losing steam. So Stravinsky’s 12-tone pieces were like commentaries on the 12-tone phenomenon.

Theorists and composers are still trying to figure out exactly how the elusive harmonic language in Stravinsky’s Neo-Classical scores (like the Symphony in Three Movements and the overlooked Piano Sonata) actually works. His pieces do not give up their secrets easily. The “Symphony of Psalms” for chorus and unconventional orchestra (with no violins and violas but two pianos) is the most gravely beautiful and profound sacred work of the 20th century. Leonard Bernstein once said that the opening chords of the third movement alone, in which the chorus sings a bittersweet, almost resigned setting of the word “Alleluia,” would have ensured Stravinsky’s place in history. That was Bernstein in his exuberant mode, but he had a point.

What’s more, including the Russian-born Stravinsky in my list brings some geographical diversity to the Top 10.

The composer I yearn to include is Benjamin Britten. In many ways, Britten is thriving. At least a half-dozen of his operas have become staples, and his symphonic and chamber works turn up all the time on programs. If there are finer 20th-century works for voice and orchestra than “Les Illuminations” and the Serenade for Tenor, Horn and Strings. I don’t know what they are. Still, I am probably in a minority in rating him quite this high. I predict that his stock will rise steadily over the next 50 years. Still, Top 10? Am I going to push out Haydn for Britten?

Among other 20th-century giants, however, I am leaning toward making a place for Bartok. It’s not just that Bartok was a visionary composer with an arresting and original voice. He could write works in a popular vein, like the Concerto for Orchestra, that are still rich with subtle complexities and ingenious strokes and his characteristic propulsive rhythms. Yet he also wrote uncompromisingly modern and experimental pieces, like the six string quartets, pieces he assumed would never catch on with the public. He would be amazed that today his quartets are as essential to the repertory as Beethoven’s.

Bartok’s other pivotal contribution came from his field research into folk music and indigenous musical traditions of Eastern Europe. He was an early ethnomusicologist. The music he encountered fundamentally altered his perceptions as a composer. Sometimes he more or less transcribed the folk music into suitable pieces for the concert hall. But in subtler ways he folded unconventional elements of the indigenous songs, dances and dirges into his own mature style. Even when he is not explicitly borrowing some folk tune, Bartok’s music is run through with the earthy strangeness of Eastern European folk music. His example inspired countless composers, from Lou Harrison to Osvaldo Golijov, to explore folk music and classical traditions from Asia, South America or wherever their backgrounds and interests took them.

Also — and maybe this is where my own concerns come into play — Bartok’s role in forging new pathways for music in the early decades of the 20th century was pivotal. Schoenberg’s analysis that the system of tonality was in crisis was spot on. Yet the solution he proposed, 12-tone music, while an audacious and exhilarating leap, appeared as inevitable — that is, the next step in the evolution — only to Schoenberg and his acolytes.

Bartok showed another way. His arresting harmonic language was an amalgam of tonality, unorthodox scales, atonal wanderings and more. Theorists still haven’t broken down Bartok’s language. But concertgoers, who don’t have such concerns, continue to be swept away by the originality and mystery of his music. A work like the Third String Quartet seems as stunningly modern today as it was in 1927. Yet it is a mainstay of the string quartet repertory.

So whom are we missing? Any votes for Shostakovich? Prokofiev? Messiaen? Ligeti?

miércoles, 12 de enero de 2011

Universe captured in mind-boggling detail by Sloan Digital Sky Survey


Astronomers from the Sloan Digital Sky Survey release SDSS-III, the most detailed picture of the universe ever made
Share Comments (…) Alok Jha, science correspondent guardian.co.uk, Tuesday 11 January 2011 18.30 GMT larger | smaller Article history

A fragment of Sloan Digital Sky Survey-III (SDSS-III) showing walls and clusters of galaxies visible from the southern hemisphere. Photograph: SDSS-III/PA It is the culmination of a decade spent scanning the night skies and would take half a million high-definition televisions to view at its full resolution. With more than a trillion pixels, this is the most detailed digital picture of the universe ever produced.

It replaces an image that is now over half a century old, created on photographic plates by the Palomar Sky Survey in the 1950s but still used by astronomers today.

By contrast, the Sloan Digital Sky Survey's third and final release of data (SDSS-III) was created using a 138-megapixel camera attached to a 2.5 metre telescope at the Apache Point Observatory in New Mexico. It contains 10 times as many objects – such as galaxies, stars and nebulae – as the Palomar survey and scientists hope it will be used for decades to come by astronomers hunting for everything from dark matter to planets orbiting other stars.

"There are half a billion objects detected in this image," said David Weinberg, an astronomer at Ohio State University who worked on the SDSS image. "About a quarter of a billion stars and a quarter of a billion galaxies."

Each pixel contains data in five different colours of light. "That's green, yellow, red, redder than red and bluer than blue. We actually take five different images of each piece of the sky, looking through different filters," said Weinberg.

Each pixel is about one-three-trillionth of the sky, and overall the image covers around a third of it. "The way the telescope works, it takes its images in long stripes so that in one night it will get one big long stripe. That's why there are two big patches that are all filled in and then there are these other stripes coming out of it which are the other places where we extended into other parts of the sky but didn't fill everything in."

Click to expand the picture above. At the bottom is a map of the whole SDSS image, split into the views of the northern and southern hemispheres of our galaxy. At this scale, huge structures such as clusters and walls of galaxies become visible. At the top left, a fraction of the sky visible from the southern hemisphere has been blown up to reveal a spiral-armed galaxy called Messier 33 (M33). This galaxy is 2m light years away from our solar system and is spotted with nurseries where new stars are being created – visible as green dots throughout its arms.

"Those green filaments are hydrogen gas that is being lit up by the hot stars in the middle," said Weinberg. "And there's a lot of blue stars in the image that are all young, hot stars that are formed in this galaxy."

At the top right is a further close-up of one of these star nurseries in M33, called NGC604.

For the brightest million objects in the survey, the SDSS team also measured the full spectra of the light, effectively passing the radiation through a prism and splitting it into different frequencies. This allowed the scientists to measure the distance to the objects, which was then used to infer a 3D map of their distribution.

"The goal is to understand why the expansion of the universe is speeding up – that is the biggest puzzle in cosmology today, because all of our experience is that ... things fall towards each other," said Weinberg. "But, at the scale of the universe, gravity seems to be pushing things apart. In addition, we're monitoring the motions of about 10,000 stars to try to detect them wobbling back and forth to see if they're being orbited by giant planets."

The SDSS data and images were released today at a meeting of the American Astronomical Society in Seattle. The 138-megapixel imaging camera that was used to take the millions of pictures that make up the latest image is being retired, destined to become part of the permanent collection at the Smithsonian in Washington DC – a recognition of its unique contribution to astronomy.

'Planck' observa el Universo frío


El cielo visto por Planck en el rango de las microondas y, abajo, nuevo mapa de fuentes frías de radiación (fuentes galácticas en azul y extragalácticas, entre ellas las galaxias hasta ahora invisibles, en amarillo).- ESA

Los primeros resultados del satélite desvelan una población invisible de galaxias antiguas
EL PAÍS - Madrid - 11/01/2011

Miles de fuentes de radiación muy frías en el Universo forman el nuevo catálogo hecho con los datos que ha recopilado el satélite europeo Planck. En sus primeros resultados científicos, presentados este martes en París, Planck ha desvelado una población invisible de galaxias envueltas en polvo hace miles de millones de años que formaron estrellas a ritmos mucho más elevados del que vemos en nuestra galaxia actualmente. Las medidas de esta población de galaxias no se habían hecho nunca hasta ahora en las longitudes de onda utilizadas por Planck, entre el infrarrojo y el radio.

El satélite fue lanzado en 2009 para estudiar la formación de las primeras estructuras a gran escala en el Universo, de donde surgieron las galaxias. Estas estructuras son las que rompen la uniformidad de la radiación de fondo de microondas, la que permanece como un eco del Big Bang, ya que se emitió solo 380.000 años después, cuando el Universo ya se estaba enfriando.

Para alcanzar el objetivo, hay que descartar las fuentes muy frías (galaxias en su mayor parte) que se interponen y contaminan las medidas y de ahí el catálogo que se ha presentado ahora. También se ha medido otra fuente de contaminación, la llamada emisión de microondas anómala, un brillo difuso asociado sobre todo a las regiones más densas y ricas en polvo de nuestra galaxia cuyo origen ha sido un misterio durante décadas.

Los datos recogidos por Planck confirman la teoría de que esta niebla local de microondas procede de granos de polvo que giran sobre sí mismos a altísima velocidad debido a colisiones con átomos en movimiento o paquetes de ondas ultravioleta.

Y, por último, Planck ha mostrado nuevos detalles de otros actores del escenario cósmico, los cúmulos distantes de galaxias, que muestra como siluetas compactas sobre el fondo cósmico de microondas. El equipo del proyecto ha identificado hasta ahora 189 de estos cúmulos, 20 de los cuales eran desconocidos y han sido confirmados por el observatorio XMM-Newton, también de la ESA . "Estas observaciones las utilizaremos como ladrillos para construir nuestro conocimiento del Universo", dice Nabila Aghanim, del CNRS y la universidad Paris Sud.

"Estos resultados son la punta del iceberg científico", ha dicho David Southwood, director científico de ESA. "Planck está superando las expectativas gracias a la dedicación de todos los involucrados en el proyecto".

El satélite sigue observando el Universo desde su órbita de Lissajous alrededor del segundo punto de Lagrange del sistema Sol-Tierra. Sus próximos datos serán hechos públicos en enero de 2013 y sus responsables esperan que revelen el fondo cósmico de microondas con un detalle inédito.

jueves, 6 de enero de 2011

Time to lose control


Museums have made great strides in adapting to the digital age but they need to go much further
By András Szántó | From Art Basel Miami Beach daily edition, 2 Dec 10
Published online 2 Dec 10



Adobe's Museum of Digital Media is showing work by Tony Oursler for its first exhibition.

Numbers scroll on a screen. Ethereal music fills the air. Cityscapes flash by. New York. Hong Kong. Venice. San Francisco. Streets and skylines are dipped in golden sunlight. But something is different. From the heart of each metropolis arises the same futuristic skyscraper. Its three shimmering towers are locked in a helical embrace. Its milky, undulating forms sprang from the imagination of Italian architect Filippo Innocenti, a Zaha Hadid associate.

Welcome to the Adobe Museum of Digital Media (AMDM). Located nowhere and everywhere, it opened in October on the web (adobemuseum.com). It has a curator, Tom Eccles, and an inaugural exhibition by Tony Oursler. It even has a “personal viewing pod”, a one-eyed fish in a soap bubble that flaps about like a Pixar character. “For the artist’s biography, click the museum directory,” she says, in a vaguely French accent that invokes Simon de Pury’s mellifluous auction chant.



Is this the digital future of the museum? Don’t count on it. The AMDM is a mesmerising virtual ride but it bears little resemblance to how museums are using digital tools, or to what lies ahead once they fully embrace new media.

1.0.

With few exceptions, museums came late to the digital party. Until quite recently, most have used their websites as extended online brochures, limited to practical information and collection highlights. Digitising and sharing the breadth of a museum’s collection is a costly, time-consuming and complicated endeavour (especially for contemporary art, where copyright restrictions are in effect). As for videos, apps, social media and all things wiki—such bells and whistles have only just started popping up on museum sites.

But in fairness, museums are further along on their new-media projects than other kinds of fine-art institutions. And they are more digitally dexterous than most commercial galleries. “The art world is constitutionally reluctant to commit to a real digital presence, whatever the platform,” says Kevin Conley, a former New Yorker writer who created The Exhibitionist mobile app for gallery-goers, “because so much of the value in the art business is based on the control of information.” Meagre budgets and a vogue for minimalist design contribute to a dull uniformity in the promotion of art online.

There are glimpses of promising innovation around the art world, of course. Lehmann Maupin Gallery’s website features elegant videos showcasing artists and exhibitions (lehmannmaupin.com). Jen Bekman’s 20x200 project (20x200.com) has shown that online gallery sales can be successful. Pace Gallery, in addition to its content-rich website and archive, is publishing digital catalogues raisonnés through its Artifex Press (artifexpress.com). Intrepid dealers like Ed Winkleman are well known as bloggers (edwardwinkleman.com). Auction houses are uploading catalogues, videos and viewing tools that help clients examine and bid—some are even tweeting their sales. Art Basel’s 3D smartphone app, launched last June, has solved the vexing problem of finding a gallery booth or a midday sandwich (artbasel.com/go/id/lre). There’s even an online art fair (vipartfair.com), coming in January to a device near you.

Museums are watching these developments closely. They know that they too must conquer new media and respond to the changing habits of their audiences, or risk losing their relevancy. But art museums are, by design, conservative. They are understandably anxious about investing in technology that could become obsolete. And they don’t want to be seen jumping on bandwagons. Mastering the digital future takes time, resources and a willingness to test comfort zones, even for the most open-minded institutions.

2.0.

Despite these obstacles, the most widely recognised museum innovators—MoMA, Indianapolis Museum of Art, Walker Art Center, Brooklyn Museum, Tate, Los Angeles County Museum of Art, to name a few—have been steadily expanding their digital footprints. Dramatic changes have happened in the past 18 months. Major upgrades are in the works at the Metropolitan Museum and other bellwether institutions. Progress is accelerating.

First, technology is changing the relationship between objects, curators and visitors. The linchpin is collection searching, which has improved by an order of magnitude in recent years. The Victoria and Albert Museum’s jam-packed site (collections.vam.ac.uk), which can search a million objects with the help of an intuitive user interface, is a prime example. (Advances in so-called semantic data, which analyse the kind of complex queries that arise in humanities research, mean that even more sophisticated searches may be around the corner.) Digital tools are letting visitors experience objects in new ways. On the Louvre’s site, visitors can zoom in on masterpieces and tour virtual galleries (louvre.fr). Some museums, including MoMA, now invite visitors to curate their own art selections with an “add to my collection” button. As for that time-honoured delivery mechanism for curatorial research, the catalogue, experts predict a wholesale shift to electronic publishing within five years.

Second, much of this innovation is being spurred by an explosion in usage of mobile media. Museums are developing mobile versions of their websites for smartphones and tablets. They are migrating from Acoustigides to cheaper, more flexible cellphone technology, which they can customise in clever ways. At the Brooklyn Museum visitors can play “gallery tag”, finding works with certain attributes and entering their accession numbers via cellphone to earn points and prizes (brooklynmuseum.org). Not a week passes, of course, without a fanfare about a newly launched museum app. These are still a work in progress. Some have less information than wall labels. But progress and economics are on their side.

Third, museums are venturing beyond traditional curatorial material. Their homepages are beginning to look like magazine sites, with channels for news, streaming content and audience dialogue. Blogs, written by staffers or professionals, routinely attract the most traffic on museum websites. Some institutions are experimenting with user-generated content. The National September 11 Memorial and Museum is collecting pictures and videos from witnesses and victims’ family members (makehistory. national911memorial.org). The V&A is asking for public input on how to crop 140,000 digitised photographs (collections.vam.ac.uk/ crowdsourcing). New distribution platforms, such as ArtBabble, a kind of YouTube for art videos from a consortium of institutions (artbabble.org), are putting museums in the communications business.

Fourth, technology is revitalising museum education. Digital media open up new pathways for exchange between experts and visitors, and are making it possible for members of the public to learn from each other. Digital initiatives can make learning fun. The Smithsonian American Art Museum’s multimedia scavenger hunt, “Ghost of a Chance”, in which players used text messages, email and the web to find hidden objects in the museum, drew 3,000 participants. A few museums are even dipping their toes into online education. MoMA’s education portal lists 20 courses aimed at the general audience, starting at $220, with titles like “The 1960s: Art and Life” (www.moma.org/learn/courses/courses).

Fifth, the web is, of course, a marketing tool par excellence. Social media initiatives are blending education and marketing. An international web event last September called “Ask a Curator” made available experts from 340 museums for online questions (askacurator.com). It generated a lot of new visitors. The Guggenheim Museum’s creative video biennial, “YouTube Play”, a collaboration with YouTube, HP and Intel, attracted a staggering 23,000 submissions this autumn (youtube.com/play). From the Prado’s Google Earth tool, which zooms in from space on the collection’s most iconic paintings (google.com/intl/en/landing/prado), to Jeffrey Deitch’s personal tour of his Los Feliz home (moca.org/audio/blog/?p=988), museums are discovering ingenious ways to build audiences.

Last but not least, technology is transforming professional museum practice. The Museum Dashboard, developed at the Indianapolis Museum of Art, takes transparency to a new level by providing real-time information on everything from the size of the endowment to objects slated for deaccessioning (dashboard.imamuseum.org). Some of the least sexy but most significant improvements are happening behind the scenes, where digital tools are helping museums gather data about visitors, manage collections, and keep a handle on budgets and human resources.

3.0.

As they feel their way toward a digital future, museums need to think deeply about what they stand for: what are they willing to sacrifice for the sake of evolution, and where will they draw the line against technological disruption? There are crunchy practical dilemmas to solve: can museums recover the costs of their digital operations? How will they deal with copyright restrictions? What to do about privacy protections or unwanted commercial intrusion?

And there are the intangibles: what is the ideal balance between physical objects and virtual experience? Is the function of technology to turn the museum into more of a community space, or to facilitate encounters of a deeply personal kind? Should museum websites aspire to the frenzied hyper-realism of video games, or should they leave that kind of thing to purveyors of popular entertainment?

Privately, some directors and curators are anxious about unintended consequences. Many older visitors like their museums just as they are. There is something to be said, after all, about the museum as a gadget-free zone—a last bulwark against computerisation. A smartphone is a cool and quick way to find the great blue whale or The Garden of Earthly Delights, but what’s wrong with getting lost in a museum?

In any event, technological change hasn’t seeped yet all the way into museums’ innermost structures and attitudes. When it does, museums will look very different. Digital innovation doesn’t just enable institutions to do old things in new ways. It forces fundamental and often painful realignments. Just look at the news.

For art institutions of all stripes, embracing new media will mean “not just a lot of whiz-bang technology, but a rethinking of the relationship with the audience,” says Artsjournal.com founder Douglas McLennan. It means adopting a new approach to information across all departments. A decade ago, a museum’s IT department was a backwater. Today, it belongs next to the director’s office. The notion that technology is less of a tool and more of mindset doesn’t come naturally to experts steeped in object-oriented practice.

The hardest part may be letting go.

Museums have a long history of exercising total command over their content. That’s over. “Museums in the future will still be reliable sources of information, and a curator will continue to be the authority on a particular work of art,” says Rob Stein, chief information officer of the Indianapolis Museum of Art. “But we won’t control the information channels.”

András Szántó is a contributing editor to The Art Newspaper. He will moderate tomorrow’s Art Basel Conversation with Maxwell Anderson, director of the Indianapolis Museum of Art, Lauren Cornell, executive director of Rhizome and a curator at the New Museum of Contemporary Art, and Peter Reed, senior deputy director for curatorial affairs at the Museum of Modern Art. Convention Center, auditorium next to Gate D, 10-11am

Dennis Hopper's bullet-scarred Warhol screen print on sale


Image of Mao dented with two bullet holes from Hopper's shotgun among memorabilia to be sold by Christie's in New York

Share Comments (…) Mark Brown, arts correspondent guardian.co.uk, Wednesday 5 January 2011 18.27 GMT larger | smaller Article history

Andy Warhol's print of Chairman Mao. Post-bullet marks, the American artist listed Dennis Hopper as a collaborator. Photograph: AP/Christie's We've all been there. It's late, you're at home and you're spooked by one of your works of art – an Andy Warhol screen print of a smiling, smug Chairman Mao – so you pick up a gun and shoot it. One as a warning, the next through his eye.

In truth, only the late actor Dennis Hopper was there and it was the 1970s, a time when he was taking drugs in order to sober up quicker so he could start drinking again. Certainly his friend Warhol didn't mind, cheerfully annotating the two bullet holes.

As a result the work became a Warhol-Hopper collaboration, and it will be sold by Christie's in New York for an estimated £20,000-£30,000 next week, part of a sale of some 300 items of memorabilia and Hopper-owned art that filled his Venice Beach home from floor to ceiling. Many of the items are estimated in the low thousands of dollars and it follows the sale of Hopper's expensive stuff last November when 30 works were sold for a combined total of $12.8m (£8m) including a Jean-Michel Basquiat which went for $5.8m.


Hopper, who died last May aged 74, was a voracious collector from the 1950s onwards – encouraged by the actor Vincent Price – and a friend and patron to many artists as well as being a photographer and painter himself.

A family friend and trustee of Hopper's estate, Alex Hitz, described the Warhol incident. "One night in the shadows, Dennis, out of the corner of his eyes, saw the Mao and he was so spooked by it that he got up and shot at it, twice, putting two bullet holes in it.

"Andy saw it, loved it and annotated those holes," labelling them "warning shot" and "bullet hole".

Also included in the sale is a painted letter from the artist Jean Tinguely, brilliantly illustrated with familiar Tinguely motifs and the message – 'Thank you for the 3-phone calls. I am looking for to be in L.A!' There are also mementos from his films and career – a Waterworld-themed pinball machine anyone? – and numerous posters for movies including Easy Rider, Apocalypse Now, Blue Velvet and Speed.

Most of the art is 20th century, although there is the odd incongruous item. For example, if you want to own Hopper's 300-year-old Italian walnut buffet it will cost someone in the region of $1,000-1,500.

Other lots include a 1955 photograph of Hopper as doe-eyed pretty boy taken by fellow actor Roddy McDowell and a peculiar portrait of Hopper with a vampiric Christopher Walken taken at the Chateau Marmont hotel, LA, by Annie Leibowitz.

The collection is being sold on 11-12 January by Hopper's four children and they are, said Hitz, following their father's wishes.