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viernes, 25 de febrero de 2011

La inteligencia es solo una, indica un estudio en niños y adolescentes


Medidas del grosor de la corteza cerebral refutan la tesis de Howard Gardner y Daniel Goleman
MALEN RUIZ DE ELVIRA - Madrid - 25/02/2011

¿Es la inteligencia una o existen varias inteligencias, y cuál es su base biológica? Las técnicas de neuroimagen, que permiten a los científicos explorar inocuamente el cerebro de personas vivas, están encontrando respuestas a preguntas como esta, que tienen una clara repercusión social .

Ya se había encontrado una relación entre el grosor de la corteza cerebral y la medida de la inteligencia general y ahora un nuevo estudio, en niños y adolescentes, se ha centrado en ver si este parámetro se relaciona también con el rendimiento cerebral en aspectos específicos. La respuesta es que no parece que exista una colección de capacidades separadas, sino que una poderosa capacidad general (llamada g) condiciona el rendimiento en las variadas situaciones que requieren el uso de la inteligencia.

Sin embargo, "gurús mediáticos como Howard Gardner, Robert Sternberg o Daniel Goleman han logrado convencer a bastantes ciudadanos de lo contrario", dice Roberto Colom, catedrático de Psicología en la Universidad Autónoma de Madrid, que ha participado, junto con otros investigadores de Canadá, Reino Unido y Estados Unidos, en un estudio que se publicará en la revista NeuroImage.

Autores como Gardner, recuerda Colom, han mantenido que no existe nada parecido a una capacidad intelectual general sino que, por el contrario, algunas personas destacan en el manejo del lenguaje, mientras que otras destacan con los números o en actividades que requieren procesamiento viso-espacial. Alguien podría ser perfectamente torpe con el lenguaje y excepcional con los números, según ellos.

El estudio analizó cómo las diferencias de grosor cortical de más de 200 participantes (niños entre 6 y 18 años) se relacionaban con su rendimiento intelectual en una variada serie de pruebas de naturaleza verbal, viso-espacial y numérica. Se obtuvo una puntuación para cada una de esas clases de tareas, pero también un índice de capacidad general (g) para cada participante. La conclusión, sorprendente, fue que cuando se consideran las puntuaciones verbales, viso-espaciales o numéricas anulando la influencia de g las relaciones con el grosor cortical desaparecen.

"Lo que queda cuando se descuenta la capacidad general (g) es ruido sin valor para el cerebro" concluye Colom. "Si alguien es muy bueno con el lenguaje es mucho más probable que improbable que también lo sea con los números y en el procesamiento viso-espacial", añade. "El hecho de que se usen pruebas verbales, numéricas o viso-espaciales no es realmente importante para comprender las relaciones de nuestra inteligencia con la biología, sino el hecho de que capturen esa capacidad general o g con mayor o menor intensidad".

Estos resultados no deben verse como contradictorios respecto a las pruebas existentes de la especialización funcional de las regiones de la corteza cerebral, advierten los autores del estudio, cuyo primer autor es Sherif Karama, de la Universidad McGill (Canadá). Solo se refieren al grosor de la corteza, que se cree refleja la densidad y la distribución de las neuronas y otras células y fibras del sistema nervioso.

La definición de inteligencia

Gottfredson definió en 1997 la inteligencia humana como "una capacidad mental muy general que, entre otras cosas, incluye la aptitud para razonar, planear, resolver problemas, pensar de forma abstracta, comprender ideas complejas, aprender rápidamente y aprender de la experiencia. No es únicamente aprender de los libros, una habilidad académica limitada, o hacer bien los tests. Por el contrario, refleja una capacidad más amplia y profunda de abarcar lo que nos rodea".

Hallado un compañero estelar en el disco de una estrella joven


Astrónomos de ESO localizan un cuerpo que podría ser un planeta en formación
M.R.E. - Madrid - 24/02/2011

El efímero disco de material que rodea a una estrella joven, donde se podría estar formando un sistema planetario, ha podido estudiarse por primera vez, con resultados interesantes. Un equipo internacional de astrónomos pudo detectar en el disco a un compañero mucho menos masivo que la estrella, que podría ser la causa del gran hueco que se observa en él. Futuras observaciones permitirán determinar si este compañero es un planeta o una enana marrón.

Los planetas se forman a partir de discos de material que rodean a las estrellas, pero la transición desde discos de polvo hasta sistemas planetarios es rápida y muy pocas estrellas son identificadas durante esta fase, informa el Observatorio Europeo Austral (ESO) cuyo Very Large Telescope (VLT), en Chile se ha utilizado para la observación. Uno de estos astros es T Chamaeleontis (T Cha), una estrella tenue, ubicada en la pequeña constelación austral de Camaleón, que es comparable con nuestro Sol, pero está mucho más cerca del comienzo de su vida. T Cha se encuentra a unos 330 años luz de la Tierra y sólo tiene unos siete millones de años de edad. Hasta ahora ningún planeta en formación ha sido encontrado en el interior de estos discos de transición, aunque previamente se han logrado observar planetas en discos más maduros.

"Estudios anteriores habían mostrado que T Cha era un excelente objetivo para estudiar cómo se forman los sistemas planetarios", dice Johan Olofsson, del Instituto Max Planck de Astronomía , uno de los autores principales de los dos artículos científicos publicados en la revista Astronomy & Astrophysics, que describen este nuevo trabajo. "Pero esta estrella es bastante lejana, por lo que se necesitó todo el poder del interferómetro del VLT para distinguir los detalles más finos y ver lo que está ocurriendo en el disco de polvo".

Los astrónomos encontraron que parte del material del disco formaba un delgado anillo de polvo a tan sólo unos 20 millones de kilómetros de la estrella. Más allá de este disco interior encontraron una zona sin polvo y un disco externo, comenzando en regiones ubicadas a 1.100 millones de kilómetros de la estrella y extendiéndose hacia el exterior.

Nuria Huélamo, del Centro de Astrobiología español, la primera autora del segundo artículo, continúa la historia: "Para nosotros, el hueco en el disco de polvo alrededor de T Cha era una evidencia concluyente, y nos preguntamos: ¿estaremos siendo testigos de un compañero abriendo un hueco dentro del disco protoplanetario?".

Sin embargo, encontrar un tenue compañero tan cerca de una estrella brillante fue un enorme reto técnico. Después de un cuidadoso análisis encontraron signos claros de un objeto ubicado en el hueco entre discos, a unos 1.000 millones de kilómetros de la estrella -un poco más lejos que Júpiter en nuestro Sistema Solar- y cerca del borde exterior del hueco. Esta es la primera vez que se detecta un objeto más pequeño que una estrella en el hueco de un disco de transición que rodea a una estrella joven. La evidencia sugiere que el compañero no puede ser una estrella normal, pero podría ser una enana marrón rodeada de polvo o, aún más interesante, un planeta recién formado.

Huélamo concluye: "Este es un excelente estudio conjunto que combina dos diferentes instrumentos de vanguardia en el Observatorio de Paranal de ESO. Observaciones futuras nos permitirán descubrir más acerca del compañero y el disco, y también entender qué alimenta al disco de polvo interior".

miércoles, 23 de febrero de 2011

Glory be to Gossaert


Renaissance man ... detail from Jan Gossaert's The Adoration of the Kings (1510-15). Photograph: National Gallery, London

He may not be a household name, and his life is shrouded in mystery – but Jan Gossaert's paintings are among the most extraordinary creations of the northern Renaissance. Maev Kennedy travels to Flanders to find out more

Maev Kennedy guardian.co.uk, Tuesday 22 February 2011 15.05 GMT larger | smaller Article history


The small Belgian town of Mechelen is a quiet place. It grew rich on wool and once made the finest lace in Europe, but it's not hard to guess that the main attraction for many residents these days is its proximity to Brussels, just 20 minutes away by commuter train.

Jan Gossaert's RenaissanceNational Gallery,LondonStarts 23 February
Until 30 May

More details The neat streets are studded, however, with a number of startlingly grand buildings, dating from the glory days – the decades in the late 15th and early 16th century when the town was the heart of the territory of the powerful Dukes of Burgundy, who had long since expanded northwards to control an area that stretched from Switzerland to the North Sea.

It was also the home of an extraordinary artist: Jan Gossaert. Nearly 500 years on, Gossaert's paintings – now scattered in major collections across the world – are being assembled for a major exhibition of a man who was a star of his day, widely imitated by his contemporaries, and regarded by art historians as a crucial bridge between the Renaissance Italian style and the dazzling medieval oil painting of the north.

"When I stand in a room full of his paintings, the sheer quality of the work is overwhelming," says Susan Foister, director of collections at the National Gallery, the woman who is curating the show at London's National Gallery. "His technique is extraordinary: the way he paints textures, so you feel every strand of fur, every hair. He is undoubtedly one of the giants."

Yet for a painter of such talent, Gossaert's name is far less familiar than his great Flemish predecessor Jan van Eyck, or Peter Paul Rubens a century later. And when the new exhibition – shared with the Metropolitan Museum in New York – opens this week, it will be the first occasion in a lifetime that a show of this nature has appeared on these shores. It is a measure of the artist's elusiveness that the two institutions can't even agree on his name (in London he will be Gossaert, in Manhattan Gossart).

As it happens, you won't find either in older art histories, which call the artist Jan Mabuse after Maubeuge, the town (now in France) where he was probably born in 1478. He signed his 1516 painting Neptune and Amphitrite, now in Berlin, "Joannes Malbodius". He is probably also the "Jan of Hainault" who was enrolled in the Antwerp painter's guild in 1503, and was also sometimes known as Jennyn van Hennegouwe.

What Gossaert looked like is equally mysterious. The only full-face portrait, an engraving in a 16th-century book on Flemish artists, may not be remotely accurate since it was made from a profile medallion: it shows a rather grave figure, a long bearded solemn face, under an elaborate hat. And, tormentingly, there are only a handful of anecdotes about his life. Karel van Mander, a painter who published a book of biographical sketches of northern artists inspired by Giorgio Vasari's wonderfully gossipy tales, says Gossaert made and wore a painted paper robe for a state reception for the Holy Roman Emperor Charles V, presumably to show off his trompe l'oeil virtuosity. "And when the Marquis, as they passed by, asked the Emperor which damask he thought the most beautiful," Van Mander wrote, "the Emperor had his eye on that of the painter which – being very white and beautifully decorated with flowers – far excelled all the others." Charles reportedly had to touch the fabric to believe it was painted paper.

Gossaert certainly knew the work of his slightly younger contemporary, the German Albrecht Dürer; and Dürer knew of him. However, it seems that they never met in person, even though Dürer made a special trip to see one of Gossaert's works in 1520, an altar piece at a church in Middelburg (now in Holland). He merely recorded laconically that the deposition from the cross was "not so good in its main lines as in the painting"; we can't check Dürer's assessment because the painting was destroyed in a fire just 30 years later.

So why has Gossaert come into focus once again? Partly because he was an innovator. Thomas Campbell and Nicholas Penny, co-directors of the exhibition, argue for his "intense originality" as an artist – an originality that will be fully on view. Unlike earlier Adams and Eves, Gossaert's nude figures were blatantly secular, but nonetheless full of references which would have been picked up immediately by an educated audience. One of the paintings in the exhibition is Hercules and Deianeira (1517), the couple's legs uncomfortably intertwined, perched on a stone bench carved with a classical frieze – a clear gesture to Roman architecture and Greek philosophy, and of the new humanist philosophy which was sweeping across Europe. The Burgundians recognised that originality, and various members of the family were Gossaert's main patrons for decades. The dukes were avid for art, seeing it – as the Medici did in Italy – as an outward manifestation not just of immense wealth, but of their culture and learning.

Gossaert suited them to perfection. His classical nude of Danae, on loan to the exhibition from the Alte Pinakothek in Munich, now seems unremarkable, but in 1527 the work must have looked astonishing: an unarguably erotic figure gazing up with dreaming eyes and parted lips at the shower of gold falling into her lap, her gown falling from her shoulders to reveal one breast. It features a detail contemporaries would not have missed: her gown is a vivid, clear blue, one of the most expensive pigments of the day, which was traditionally reserved for the robes of the Madonna.

Many of these references were gleaned from a trip the artist made to Rome in 1508, a highlight of his career, and also a major event in the history of European art. A century before Rubens, Gossaert became the first Flemish artist to bring back the style of Raphael and Michelangelo to the studios of the north. He went there as court artist to Philip of Burgundy, who was an exceptionally secular bishop, the illegitimate son of Philip the Good, an admiral and a diplomat as well as a churchman whose palace was decorated with erotic art. Philip sent Gossaert to draw the half-ruined ancient monuments and buildings and newly excavated classical statues, as well as the new works they inspired.

His drawings reveal exactly what the artist came across. One sheet in the exhibition, on loan from a collection in Leiden, has on a single page a beautiful drawing of a famous Roman bronze, the Spinario, a graceful boy picking a thorn out of his foot. Gossaert has also crammed in two fancy parade helmets; a lion's head and a broken lion mask which he may have seen on stone coffins in the Forum; a slender leg in a laced boot; and a heavily muscled leg in a ludicrously elaborate open-toed boot which has been traced to a colossal statue excavated from the Baths of Caracalla. He mined his Roman drawings for figures and classical ornament for the rest of his working life.

The new exhibition will also show his wonderful portraits, including his canny young merchant of 1530, on loan from the National Gallery in Washington, framed by stacks of invoices, painted in minute detail down to the slightly grubby nails of his fingers.

Why, then, has Gossaert been neglected for so long? Foister suggests that he partly fell out of public consciousness because the works were so widely scattered, and because many of the panel paintings were too vulnerable to travel. "Because there were no major exhibitions, there have been few recent major studies of his work," she argues. "The catalogue for this exhibition, a major work of scholarship, should go a long way to redress that."

Not that the fresh scrutiny has come free of problems – in the course of research, questions have been raised over the true authorship of the gallery's Adoration of the Magi, a spectacular work which has long been one of the gallery's most popular Christmas cards, with the three sumptuously dressed kings presenting magnificent golden gifts.

"I stand by our picture," Foister insists. "I still think it is Gossaert. But that's exactly what this exhibition is for, to raise as many questions as possible about Gossaert – and, if possible, answer some of them."

Banksy refused Oscars disguise request


Barking up the wrong wall ... a urinating dog, stencilled in LA by Banksy ahead of Sunday night's Oscars. Photograph: Landov/PA Images


British art's man of mystery denied the chance to attend Academy Awards incognito due to fears of gatecrashing by impostors,

He is perhaps best known for his carefully guarded anonymity, but Banksy has this week discovered that the Oscars do not "do" enigma. The British street artist has been refused permission to appear in disguise at Sunday night's Academy Awards, where he is up for best documentary for his debut feature film, Exit Through the Gift Shop.

"The fun but disquieting scenario is that if the film wins and five guys in monkey masks come to the stage all saying, 'I'm Banksy,' who the hell do we give it to?" he said.

When his nomination was announced, Banksy called it a "big surprise."

"I don't agree with the concept of award ceremonies, but I'm prepared to make an exception for the ones I'm nominated for," he said, adding: "The last time there was a naked man covered in gold paint in my house, it was me."


The artist now seems unlikely to appear at the ceremony at the Kodak Theatre in Los Angeles, though reports suggest he will be in the vicinity. A number of new graffiti pieces have appeared in the city over recent weeks, including one of Peanuts's Charlie Brown pouring petrol on the side of a burned-out building.

martes, 22 de febrero de 2011

The Large Hadron Collider is back. Now for the secrets of the universe!


Britney Spears, Amy Winehouse, Foo Fighters: there are some big comebacks planned for 2011. But surely none will be as literally universe- defining as the third coming of the Large Hadron Collider (LHC), which revved back into gear on Sunday.

Scientists hope that the collider, out of action since early December for its annual winter maintenance, will this year finally reveal the so-called "God particle", a discovery on which hinges humanity's very understanding of physics. The particle – known as the Higgs boson – is so small that scientists have never found it; in fact, they are not even sure it exists.

The £5.6bn LHC was set up primarily to prove that it does – and if it is successful, the discovery will confirm long-held theories about the Big Bang, and how the universe was formed. If it is not, most of our physics textbooks will have to be rewritten. For Professor Nicholas Hadley, one of the scientists at CERN, the centre in Switzerland that houses the 17-mile circular collider, the boson's non-existence might "actually be more intriguing than finding it".

Peter Higgs, the English physicist who first hypothesised its existence back in 1964, might find such a failure more of an anti-climax. Higgs, now 81, joked in 2008 that he had instructed his doctors to keep him alive for as long as it took for the collider's data to be analysed. "I'll open a bottle of something if they find it," he said.

He might have to wait a little while longer, judging from the LHC's past experiences. The collider broke down within days of first being started in 2008 – and has undergone repair work for more than half of its two-year operational history.

domingo, 20 de febrero de 2011

Conventional Wisdom of How Neurons Operate Challenged: Axons Can Work in Reverse


ScienceDaily (Feb. 19, 2011) — Neurons are complicated, but the basic functional concept is that synapses transmit electrical signals to the dendrites and cell body (input), and axons carry signals away (output). In one of many surprise findings, Northwestern University scientists have discovered that axons can operate in reverse: they can send signals to the cell body, too.

It also turns out axons can talk to each other. Before sending signals in reverse, axons can perform their own neural computations without any involvement from the cell body or dendrites. This is contrary to typical neuronal communication where an axon of one neuron is in contact with another neuron's dendrite or cell body, not its axon. And, unlike the computations performed in dendrites, the computations occurring in axons are thousands of times slower, potentially creating a means for neurons to compute fast things in dendrites and slow things in axons.

A deeper understanding of how a normal neuron works is critical to scientists who study neurological diseases, such as epilepsy, autism, Alzheimer's disease and schizophrenia.

The findings are published in the February issue of the journal Nature Neuroscience.

"We have discovered a number of things fundamental to how neurons work that are contrary to the information you find in neuroscience textbooks," said Nelson Spruston, senior author of the paper and professor of neurobiology and physiology in the Weinberg College of Arts and Sciences. "Signals can travel from the end of the axon toward the cell body, when it typically is the other way around. We were amazed to see this."

He and his colleagues first discovered individual nerve cells can fire off signals even in the absence of electrical stimulations in the cell body or dendrites. It's not always stimulus in, immediate action potential out. (Action potentials are the fundamental electrical signaling elements used by neurons; they are very brief changes in the membrane voltage of the neuron.)

Similar to our working memory when we memorize a telephone number for later use, the nerve cell can store and integrate stimuli over a long period of time, from tens of seconds to minutes. (That's a very long time for neurons.) Then, when the neuron reaches a threshold, it fires off a long series of signals, or action potentials, even in the absence of stimuli. The researchers call this persistent firing, and it all seems to be happening in the axon.

Spruston and his team stimulated a neuron for one to two minutes, providing a stimulus every 10 seconds. The neuron fired during this time but, when the stimulation was stopped, the neuron continued to fire for a minute.

"It's very unusual to think that a neuron could fire continually without stimuli," Spruston said. "This is something new -- that a neuron can integrate information over a long time period, longer than the typical operational speed of neurons, which is milliseconds to a second."

This unique neuronal function might be relevant to normal process, such as memory, but it also could be relevant to disease. The persistent firing of these inhibitory neurons might counteract hyperactive states in the brain, such as preventing the runaway excitation that happens during epileptic seizures.

Spruston credits the discovery of the persistent firing in normal individual neurons to the astute observation of Mark Sheffield, a graduate student in his lab. Sheffield is first author of the paper.

The researchers think that others have seen this persistent firing behavior in neurons but dismissed it as something wrong with the signal recording. When Sheffield saw the firing in the neurons he was studying, he waited until it stopped. Then he stimulated the neuron over a period of time, stopped the stimulation and then watched as the neuron fired later.

"This cellular memory is a novelty," Spruston said. "The neuron is responding to the history of what happened to it in the minute or so before."

Spruston and Sheffield found that the cellular memory is stored in the axon and the action potential is generated farther down the axon than they would have expected. Instead of being near the cell body it occurs toward the end of the axon.

Their studies of individual neurons (from the hippocampus and neocortex of mice) led to experiments with multiple neurons, which resulted in perhaps the biggest surprise of all. The researchers found that one axon can talk to another. They stimulated one neuron, and detected the persistent firing in the other unstimulated neuron. No dendrites or cell bodies were involved in this communication.

"The axons are talking to each other, but it's a complete mystery as to how it works," Spruston said. "The next big question is: how widespread is this behavior? Is this an oddity or does in happen in lots of neurons? We don't think it's rare, so it's important for us to understand under what conditions it occurs and how this happens."

In addition to Spruston and Sheffield, other authors of the paper are Tyler K. Best and William L. Kath, from Northwestern, and Brett D. Mensh, from Harvard Medical School.

¿Qué hacemos con los genios infames?


Grandes artistas han defendido ideas que promueven el odio - El veto en Francia al aniversario de la muerte de Céline reabre el debate sobre cómo celebrar a los creadores incómodos
JAVIER RODRÍGUEZ MARCOS 20/02/2011

Grandes artistas han defendido ideas que promueven el odio - El veto en Francia al aniversario de la muerte de Céline reabre el debate sobre cómo celebrar a los creadores incómodos

La historia de la literatura universal y la historia universal de la infamia son dos tomos distintos de la misma enciclopedia. De ahí que, de tanto en tanto, surjan varias preguntas: ¿Es posible que sean la misma persona el artista que crea una obra llena de humanidad y el ciudadano que promueve ideas inhumanas? ¿Se puede conmemorar al primero sin celebrar al segundo? La primera pregunta tiene una respuesta clara: sí, es posible. La segunda sigue siendo un campo de minas.

El mes pasado se abrió en Francia un nuevo capítulo de esa antigua diatriba. Tras incluir a Louis-Ferdinand Céline, fallecido el 1 de julio de 1961, en las Celebraciones Nacionales para este año, el Ministerio de Cultura francés decidió sacarlo de la lista. Accedía así a la petición de Serge Klarsfeld, presidente de la asociación de hijos de deportados judíos, de que no se celebrase oficialmente a un antisemita.

Después incluso de haber colgado en la página de los Archivos Nacionales una publicación conmemorativa, el ministro Fréderic Miterrand, sobrino del célebre presidente, ordenó que el cincuentenario de Céline no tuviera reconocimiento oficial. Aun reconociendo el valor literario de su obra, Miterrand fue rotundo: "El hecho de haber puesto su pluma a disposición de una ideología repugnante, la del antisemitismo, no se inscribe en el principio de las celebraciones nacionales". La polémica, eternamente congelada y descongelada, está otra vez servida.

"Estoy un poco indignado, creía que este tema estaba solucionado cuando se me pidió escribir la nota", dijo Henri Godard, biógrafo de Céline, refiriéndose al texto colgado en la web oficial. "Pensaba que la opinión había evolucionado y que las clases dirigentes lo tenían en cuenta". El revuelo, que todavía dura, ha demostrado que ni la herida estaba cerrada ni el tema solucionado ni la opinión había evolucionado tanto. La pregunta sigue en el aire: ¿qué hacemos con los genios infames?

En 1932, el doctor Louis-Ferdinand Destouches, Céline, publicó una de las grandes novelas de la historia de la literatura, Viaje al fin de la noche. Aquella obra puso a su autor a la altura de Proust como renovador de la lengua francesa al tiempo que lo convertía en uno de los mejores retratistas de los tiempos modernos: de la guerra mundial al colonialismo pasando por el turbio sueño americano. La novela está escrita con un lenguaje crudo y antisentimental, lo que hace que, en esa noche, cualquier sentimiento se convierta en una estrella que desprende humanidad y emoción.

Cinco años más tarde, en diciembre de 1937, el mismo Céline publicó una obra violentamente racista que terminaría contaminando la recepción de sus novelas: Bagatelas para una masacre. Aunque el panfleto, un imparable desahogo alucinado de 240 páginas, trata muchos temas, ha entrado en la historia del odio por pasajes como estos: "Me gustaría establecer una alianza con Hitler (...) A él no le gustan los judíos... A mí tampoco... No me gustan los negros fuera de su lugar... No veo ninguna delicia en que Europa se vuelva completamente negra... No me haría ninguna gracia... Son los judíos de Londres, de Washington y de Moscú los que impiden la alianza franco-alemana (...) Dos millones de boches campando por nuestro territorio nunca podrán ser peores, más saqueadores ni infames que todos esos judíos que nos revientan (...) Siempre y en todas partes, la democracia no es más que el biombo de la dictadura judía".

Lejos de convertirse en piedra de escándalo en Francia, el libro vendió en poco más de un año 75.000 ejemplares, una cantidad que hoy mismo alcanzan muy pocos autores con sus novelas, no digamos ya con un texto de no ficción. El hecho de que el antisemitismo sea un invento francés del siglo XIX es mucho más que un dato ilustrado por el famoso affaire Dreyfus. Aunque en 1939 un decreto obligó al editor a retirarlo de las librerías, el asentamiento del gobierno colaboracionista de Vichy convirtió Bagatelas para una masacre de nuevo en un best seller.

Con la liberación de Francia, Céline huyó a Alemania para terminar siendo capturado en Dinamarca. Se libró de ser fusilado por la amnistía que, en 1951, le permitió volver a su país una vez que su abogado consiguió deshacer la relación entre el doctor Destouches y el escritor Céline, algo, por cierto, que no ha conseguido medio siglo de crítica literaria.

A la muerte del novelista, su viuda, Lucette Destouches, prohibió la reedición de los panfletos -Escuela de cadáveres y Les beaux draps amén de las famosas Bagatelas-. Además, se fue querellando con todos los que los trataban de publicarlos clandestinamente dentro y fuera de Francia. No es difícil, sin embargo, encontrarlos completos en Internet. En sus memorias, la señora Destouches recordaba la actitud de su marido hacia unos textos a los que, decía, algunos atribuyen "un poder maléfico": "Cuando supo lo que realmente había pasado en los campos de concentración se quedó horrorizado, pero nunca fue capaz de decir: 'Lo lamento'. No se le perdonó el no haber reconocido sus culpas y él jamás dijo: 'Me equivoqué'. Siempre aseguró que había escrito sus panfletos con una finalidad pacifista, nada más. En su opinión, los judíos incitaban a la guerra [él había sido herido en la del 14] y quería evitarla. Eso era todo".

Aunque nunca han faltado pacifistas empeñados en apagar el fuego con una lata de gasolina, Céline ha alcanzado una categoría de icono que no tienen reaccionarios tan citados como Robert Brasillach o Drieu La Rochelle. La razón es simple: como novelista es uno de los más grandes. Lo que no es tan simple es cómo reconocer esa grandeza sin mancharse las manos. La equivocación sería, para muchos expertos, seguir barriendo las vergüenzas debajo de la alfombra.

Bernard-Henri Lévy lo dijo así el mismo día que se anunció la decisión del ministerio de Cultura de su país: "Aunque la conmemoración sirviese solo para eso, para empezar a entender la oscura y monstruosa relación que ha podido existir entre el genio y la infamia, habría sido no solo legítima, sino útil y necesaria".

Para Esther Bendahan, escritora y directora de cultura de Casa Sefarad-Israel en Madrid, es un error suspender la conmemoración una vez programada: "Era una oportunidad de reflexión. No digo que esté de acuerdo con el planteamiento, pero una vez planteado, hay que defenderlo y aprovecharlo".

La polémica, según Bendahan, surge por la cercanía del horror que alimentó el racismo de muchos intelectuales: "Hablamos de algo muy cercano y, diría, de gran actualidad todavía. Eso hace difícil separar la persona de su obra". Algo perfectamente fácil de hacer, sin embargo, en el caso de autores como Quevedo, cuyo antisemitismo no hace ya tanto daño como el de un contemporáneo. Por no hablar de la misoginia o la defensa de la esclavitud de no pocos de sus vecinos en los barrios bajos de la historia del arte.

¿Y cuándo queda el horror lo suficientemente lejos? Para responder, la autora de Déjalo, ya volveremos recurre a una serpiente que se muerde la cola: "Cuando no levanta polémica. Cuando se vive como un fenómeno ajeno a nosotros que ha formado parte de una locura histórica. Cuando es ya más historia que memoria".

El filósofo Reyes Mate, Premio Nacional de Ensayo en 2009 por La herencia del olvido, ha consagrado muchos de sus trabajos a la relación entre historia y memoria a la luz, sobre todo, del Holocausto, pero también de la Guerra Civil y de la dictadura argentina. Para él, "la memoria decisiva no es la de los hechos felices sino la de los infelices, y esa memoria negativa es la que puede ser un elemento crítico importante para una construcción diferente del presente". Además, apunta, una cosa es conmemorar y otra, celebrar: "Se celebran los triunfos, se conmemoran las derrotas".

Lo curioso es que, a veces, tanto de unos como de otras se pretende dar una versión aséptica. Cuando, en noviembre de 1996, los restos de André Malraux fueron trasladados al Panteón de París, junto a los de Rousseau, Victor Hugo o Marie Curie, se emitió un sello con un retrato del escritor al que le habían borrado por ordenador el cigarrillo que llevaba la fotografía original. En el mismo Panteón, por cierto, reposa Voltaire, cuya obra está trufada de comentarios sobre los judíos que hoy serían un escándalo.

Lo peor que se puede hacer con el pasado, dice Mate, es borrarlo o ignorarlo: "A autores como Céline, cuyas posiciones políticas contribuyeron al desastre, conviene recordarlos porque fueron muy significativos. Si no los tienes en cuenta no te explicas lo que sucedió. Hay que leer críticamente a Céline, como a Heidegger o a Jünger, porque representa un momento del pasado que ha tenido una importancia enorme en la historia. Difícilmente se puede construir una historia diferente a lo que ellos significaron si no se tiene en cuenta que existieron".

En su opinión, ese argumento sirve tanto para un libro como para un monumento. De ahí su contrariedad al comprobar que en el edificio central de la institución en la que trabaja, el Consejo Superior de Investigaciones Científicas (CSIC), ha desaparecido la inscripción en latín que "honraba" a Franco como presidente del patronato del Consejo: "Han quitado el fresco y han puesto unas baldosas neutras. No hay rastro del pasado. Habría que haber dejado esa inscripción y, al lado, poner una explicación". Para el autor de Justicia de las víctimas, sin huellas se vuelve más difícil leer el pasado. Por eso, dice, "lo que hay que hacer no es eliminar el Valle de los Caídos, sino explicarlo".

Lo mismo cabría decir de los nombres de las calles: "La solución no es eliminarlas. No deberíamos olvidar que hubo una sociedad para la que los generales franquistas fueron personas ilustres. Si hay muchas, como en Madrid, habría que dosificarlas, pero no se puede borrar de la ciudad ese pasado. Ahí la Ley de la Memoria Histórica afinó poco".

En lo que se refiere a los escritores, la gran pregunta es, apunta Esther Bendahan, si la obra de un autor y sus opiniones tienen genes distintos, es decir, si el arte tiene "su propia verdad". La cuestión es más espinosa en el caso de un filósofo -que trabaja con sistemas que a veces conllevan una ética- que, por ejemplo, en el de un arquitecto, pero parece que no hay duda de que se puede ser un amoral y un gran artista. "La experiencia nos dice que sí. Se ha dicho mil veces: los nazis se emocionaban con la música clásica".

Para Reyes Mate, el arte permite la contradicción de que una forma brillante albergue contenidos terroríficos. Eso sí, lo que ha cambiado es la mirada sobre el arte: "Después de Auschwitz no podríamos decir de ciertos poemas que sean malos, pero sí que son éticamente discutibles. Lo que añade la experiencia de Auschwitz es el juicio ético, ya no te puedes detener solo en el nivel estético. Nuestra visión de una obra tiene algo que sin esa experiencia no tendría por qué tener. El deber de memoria pide que se incluya el juicio moral".

El día que Céline nos resulte tan lejano como Quevedo algo se habrá ganado pero algo se habrá perdido. Significará que el horror que contribuyó a encender se ha vuelto para nosotros más ajeno que la belleza que él mismo consiguió crear. Entre tanto, habría que prescindir de la brocha gorda para asumir de una vez por todas que los buenos escritores son a veces malas personas. Y, de paso, asumir que para reconocer la grandeza de un artista no hace ir con flores a su tumba.

jueves, 17 de febrero de 2011

Así se forma un sistema planetario


El telescopio japonés Subaru desvela en detalle los discos alrededor de estrellas jóvenes
MALEN RUIZ DE ELVIRA - Madrid - 17/02/2011

Aunque el Sistema Solar esté formado desde hace mucho tiempo, en el Universo se construyen muchos otros sistemas planetarios. Las primeras imágenes detalladas de discos protoplanetarios, alrededor de dos jóvenes estrellas, las ha tomado el telescopio japonés Subaru, que está situado en Hawai. Estas imágenes están ayudando a descifrar el proceso de la formación de los planetas, a partir de un disco de polvo y gas que rodea el astro.

Los discos evolucionan como subproducto de la formación de las propias estrellas, pero no se conocen los detalles del origen y maduración de los planetas, explican los astrónomos de Subaru. La detección de más de 500 exoplanetas, alrededor de estrellas distintas de nuestro Sol, ha aumentado el interés en el estudio de los discos. Los astrónomos se preguntan si cada planeta surgen de la colisión de cuerpos rocosos y helados más pequeños o de la inestabilidad gravitatoria en los discos.

Una de las imágenes actuales es de una estrella muy joven, AB Aur, en la constelación del Auriga. Solo tiene un millón de años y está rodeada por su disco, que orbita la estrella más cerca de lo que lo hace Neptuno. Esta estructura consta de dos anillos inclinados respecto al plano ecuatorial y un espacio vacío en medio. El centro geométrico del disco no coincide con la situación de la estrella. Estas irregularidades sugieren la existencia de al menos un planeta gigante que está afectando la estructura del disco.




El otro disco observado es el que rodea la estrella LkCa 15, de varios millones de años de edad. Se ha obtenido la primera imagen directa de una brecha en su disco cuya existencia ya había sido sugerida por observaciones anteriores. La falta de material en la vecindad de la estrella implica que un planeta gigante está recogiendo (y así aumentando de tamaño) la materia sobrante.

Estas observaciones, que publica la revista Astrophysical Journal , se enmarcan en el proyecto SEEDS, dirigido por Motohide Tamura del Observatorio Astronómico Nacional de Japón . Los discos son difíciles de estudiar porque son muy planos y porque la luz de la estrella los oculta. Hasta ahora solo se había podido estudiar la parte externa de la estructura. Por otro lado, la inclinación de las órbitas respecto al plano ecuatorial puede ser lo normal en el resto del Universo, señalan los investigadores de Subaru, tras calcular la inclinación de las órbitas de dos exoplanetas.

martes, 15 de febrero de 2011

El amarillo de Van Gogh se reduce


Los rayos X descubren la compleja reacción química que degrada los brillantes colores del genio holandés y abren una vía para evitarlo
MALEN RUIZ DE ELVIRA - Madrid - 14/02/2011

El brillante amarillo de los cuadros de Van Gogh ya no es tan brillante como cuando los pintó y vira a marrón. Esta preocupante degradación, que afecta a otros colores y otros artistas de finales del siglo XIX, se debe a una compleja reacción química, que han conseguido detectar en un esfuerzo conjunto varios laboratorios europeos, incluyendo el gran sincrotrón de Grenoble (ESRF).

Pequeñísimas muestras de pintura analizadas por científicos de cuatro países han confirmado el proceso, que abre la vía a posibles medidas para evitarlo, como la protección de la luz solar y los rayos ultravioleta. Los resultados se publican en Analytical Chemistry .

Como en una historia de investigación forense, los científicos emplearon un haz microscópico de rayos X para revelar la reacción química, que tiene lugar en una capa finísima, donde coinciden la pintura y el barniz de la superficie. La luz del sol solo puede penetrar unos pocos micrómetros en la pintura, pero en esta cortísima distancia es capaz de disparar una reacción hasta ahora desconocida que convierte el amarillo de cromo en pigmentos marrones.

La decisión de Van Gogh de utilizar nuevos colores brillantes en sus lienzos se considera un hito en la historia del arte, señalan los científicos. Eligió deliberadamente colores para manifestar emociones y estados de ánimo, y no lo hubiera podido hacer sin la innovación en la fabricación de pigmentos industriales que tuvo lugar en el siglo XIX.

Aunque se sabe desde ese siglo que la pintura amarillo cromo se oscurece bajo el efecto de la luz del sol, no todas las pinturas de esa época están afectadas y el proceso no va siempre a la misma velocidad. Dada su toxicidad, los artistas se cambiaron a otras alternativas en los años cincuenta del siglo XX.

Para resolver el rompecabezas químico, el equipo dirigido por Koen Janssens utilizó primero en los análisis muestras de tubos de pintura antiguos, que envejeció artificialmente sometiéndolas durante 500 horas a luz ultravioleta. Solo una muestra, del pintor Rik Wouters (1882-1913), se oscureció significativamente, y esta fue la que se analizó con rayos X. Se encontró que el fenómeno es una reducción del cromo, que pasa de cromo VI a cromo III.

En la segunda etapa se utilizaron muestras de dos cuadros de Van Gogh, Vista de Arles con lirios (1888) y Ribera del Sena (1887), que están en el museo del artista en Amsterdam . Se efectuaron numerosos análisis en varios laboratorios europeos, incluidos los sincrotrones ESRF y DESY, y la conclusión es que se ha producido este fenómeno en los dos cuadros.

Los rayos X mostraron también que el cromo III está presente en mayor medida cuando también hay compuestos con bario y azufre. Esto indica que la técnica de Van Gogh de mezclar pintura blanca y amarilla puede ser la causa del oscurecimiento de su amarillo.

Los últimos experimentos mostraron que los nuevos compuestos de cromo III forman una capa de espesor nanométrico sobre las partículas de pigmento de la pintura.

El gran carguero espacial europeo, listo para viajar a la estación orbital


El 'Johannes Kepler', una nave avanzada y automática del tamaño de un autobús
ALICIA RIVERA - Madrid - 15/02/2011

Un enorme carguero espacial, del tamaño de un gran autobús de dos pisos y lleno de comida, oxígeno, combustible, repuestos y envíos personales (más de siete toneladas en total) para los astronautas, debe partir esta noche con destino a la Estación Espacial Internacional (ISS).

Un enorme carguero espacial, del tamaño de un gran autobús de dos pisos y lleno de comida, oxígeno, combustible, repuestos y envíos personales (más de siete toneladas en total) para los astronautas, debe partir esta noche con destino a la Estación Espacial Internacional (ISS). Es una nave europea, la más pesada que ha enviado la industria espacial del viejo continente, y destaca por ser la más avanzada de las pocas que sirven para llevar vituallas a la base orbital. Para las 23.13 horas de hoy está previsto, desde la base de Kourou (Guyana Francesa) en un cohete Ariane-5, el lanzamiento del Johannes Kepler, el carguero de la Agencia Europea del Espacio (ESA), que tardará ocho días en llegar a la ISS en un vuelo completamente automático. Igualmente autónomas serán las delicadas maniobras de aproximación y atraque en la base, realizadas en órbita, a casi 300 kilómetros de altura sobre la superficie terrestre.




Durante la maniobra, los dos vehículos -el carguero, de más de 20 toneladas, y la ISS, de 420- estarán sobrevolando la Tierra a 28.000 kilómetros por hora. Diversos sensores y haces láser en la Johannes Kepler proporcionan los datos cruciales al sistema automático de atraque. Desde la estación, el astronauta italiano Paolo Nespoli supervisará el crítico momento, pero no tendrá nada que hacer, a no ser que algo falle y se vea obligado a apartar la nave para evitar cualquier percance en la estación, todo ello bajo la atención permanente del centro de control, en Toulouse (Francia).

El carguero lleva un dispositivo de cifrado ultrasecreto de las órdenes que se le envían para evitar cualquier posibilidad de sabotaje, explican los ingenieros de la empresa Crisa, en Madrid, que han diseñado y construido varios equipos electronicos del ATV.

El Johannes Kepler es el segundo artefacto de la serie ATV (siglas en inglés de Vehículo Automatizado de Transferencia) y lleva más carga que el primero, el Jules Verne, que voló a la ISS en 2008 con 5,5 toneladas de suministros. El plan es construir otros tres como mínimo, con un coste total de mil millones de euros más los lanzamientos. Los ATV se construyen en las instalaciones de Eads-Astrium en Bremen (Alemania), con participación de decenas de empresas europeas. España participa en el programa con un 4%.

Además de llevar combustible a la estación, repuestos, alimentos, ropa y cartas para la tripulación, el ATV tiene que cumplir otra función esencial: encender sus motores y elevar la base. Debido a la gravedad terrestre, la ISS va perdiendo altura, entre 50 y 100 metros diarios, y las naves que van y vienen tienen que subirla hasta unos 350 kilómetros.

El carguero europeo estará tres meses y medio en la estación y los astronautas lo utilizarán como una dependencia más del complejo. Luego servirá de cubo de la basura: meterán los residuos de los que se tienen que deshacer y el Johannes Kepler se separará y se dirigirá al reencuentro con la atmósfera terrestre para desintegrarse sobre el Pacífico Sur.

Rusia tiene sus cargueros espaciales Progress, y Japón acaba de estrenar el suyo, el HTV, aunque no tan perfeccionados como el europeo. EE UU carece de momento de este tipo de nave.

miércoles, 9 de febrero de 2011

The Muslim Brotherhood uncovered


Senior Muslim Brotherhood leader Essam el-Erian says his organisation gives Mubarak a week to leave - a position over which 'there is no compromise'. Photograph: Abdel Hamid Eid/AP

In an exclusive Guardian interview, Egypt's Islamist opposition group sets out its demands.

Jack Shenker in Cairo and Brian Whitaker guardian.co.uk, Tuesday 8 February 2011 21.39 GMT larger | smaller Article history

The downstairs entrance is littered with rubbish, and the stairwell is dark and cramped. Only the opulence of the second-floor door – a broad, ornate colossus of a door – offers any clue as to what lies inside this unprepossessing apartment block in an unfashionable corner of Cairo's Roda Island.

Behind the door are the headquarters of the Muslim Brotherhood, the movement that – depending on who you believe – is about to either give Egypt the Taliban treatment or help steer the country through transition to a pluralist democracy.

Given the international opprobrium that its name often inspires, perhaps it's not surprising that the brotherhood prefers a low-key, almost shabby feel for its headquarters. "We are not in the forefront," smiles Essam el-Erian, a senior brotherhood leader. "We keep a step behind."

A step behind is exactly where the brotherhood has been accused of being during the past two weeks of momentous upheaval in Egypt, two weeks in which the world's oldest Islamist organisation found itself out on the sidelines as a new political reality unfolded before its eyes.

When the call first went out for mass pro-change protests on 25 January, the brotherhood responded as it always has to any major anti-government activity originating outside its own sphere of influence – it dithered. With that dithering came a loss of credibility, as the demonstrations gathered momentum and coalesced into nothing short of a revolutionary challenge to 30 years of entrenched dictatorship.

Now, though – having been wrong-footed and overtaken by largely non-religious young activists – the brotherhood is seeking to regain its standing as the country's leading opposition movement, without turning either local or western opinion against it.

Playing catch-up has seen the brotherhood engaging in dialogue with a government that has long kept it outlawed – thus gaining a legal legitimacy denied since 1954 – while at the same time trying to avoid accusations of a sell-out from the hundreds of thousands who continue to pack Tahrir Square and who want to see President Hosni Mubarak gone before any negotiations towards a democratic transition can begin.

"There is no compromise," Erian (above right) told the Guardian on Tuesday. "We reassess our position every day, maybe every hour. We give them some time to discuss … [Those around Mubarak] are arranging their affairs because he was a symbol of the regime and he was controlling them. They need some time. We give them this chance. A week."

The "Brother Muslimhood" – as the vice-president, Omar Suleiman, repeatedly called it this week during a TV interview with Christiane Amanpour – also faces a potentially more difficult tightrope walk internationally.

Its need is to position itself at the forefront of Egypt's post-Mubarak future without sounding alarm bells in western capitals, where Mubarak's warnings about the dire threats posed by the brotherhood have often been taken at face value. It's a dilemma that Erian is only too aware of. "Mr Obama, Mrs Clinton, Mr Cameron, Mr Sarkozy, when they see us at the front they say we are another Khomeini, another Iranian [revolution]," he says.

But placating foreign powers was not what Hassan al-Banna founded the movement for in 1928. It was Britain's presence in Egypt that led to the brotherhood's creation. Six Egyptian workers employed in the military camps of Ismailiyya in the Suez Canal Zone visited Banna, a young teacher who they had heard preaching in mosques and cafes on the need for "Islamic renewal".

"Arabs and Muslims have no status and no dignity," they complained, according to the brotherhood's official history. "They are no more than mere hirelings belonging to the foreigners … We are unable to perceive the road to action as you perceive it …" Banna later wrote that the Europeans had expropriated the resources of Muslim lands and corrupted them with "murderous germs": "They imported their half-naked women into these regions, together with their liquors, their theatres, their dance halls, their amusements, their stories, their newspapers, their novels, their whims, their silly games, and their vices … The day must come when the castles of this materialistic civilisation will be laid low upon the heads of their inhabitants."

Banna argued that Islam provided a complete solution, with divine guidance on everything from worship and spiritual matters to the law, politics and social organisation. He established an evening school for the working classes which impressed the general inspector of education and by 1931 the brotherhood had constructed its first mosque – for which the Suez Canal Company is said to have provided some of the funds.

Banna was offering a religious alternative to the more secular and western-inspired nationalist ideas that had so far failed to liberate Egypt from the clutches of foreign powers, and the popular appeal of his message was undeniable: by 1938, the movement had 300 branches across the country, as well as others in Lebanon and Syria.

During the second world war, British attitudes towards the brotherhood – and those of the British-backed Egyptian monarchy – ranged from suppression to covert support, since it was viewed as a possible counterweight against the secular nationalist party, the Wafd, and the communists. In 1948, the movement sent volunteers to fight in Palestine against the establishment of Israel and there were numerous bomb attacks on Jews in Cairo – at least some of which are attributed to the brotherhood.

A year later, members assassinated a judge who had jailed a Muslim Brother for attacking British soldiers. The Egyptian government ordered the brotherhood to be dissolved and many of its members were arrested. The prime minister was then assassinated by a Brother and in February 1949 Banna was himself gunned down in the streets of Cairo, apparently on the order of the authorities.

The brotherhood was also implicated in an attempt to assassinate President Gamal Nasser in 1954, but it has long since renounced violence as a political means in Egypt. By the 1980s it was making determined efforts to join the political mainstream, making a series of alliances with the Wafd, the Labour and Liberal parties. In the 2000 election it won 17 parliamentary seats. Five years later, with candidates standing as independents for legal reasons, it won 88 seats – 20% of the total and its best electoral result to date.

"There can be no question that genuine democracy must prevail," Mohammad Mursi, a brotherhood spokesman, wrote in an article for Tuesday's Guardian. "While the Muslim Brotherhood is unequivocal regarding its basis in Islamic thought, it rejects any attempt to enforce any ideological line upon the Egyptian people."

Although the Brotherhood appears to have firmly embraced democracy, the means for reconciling that with its religious principles are not entirely clear: the issue of God's sovereignty versus people's sovereignty looks to have been fudged rather than resolved.

The Brotherhood continues to maintain that "Islam is the solution" while at the same time demonstrating a kind of pragmatism that suggests Islam may not be a complete solution after all.

One example is jizya, the poll tax on non-Muslims, which is clearly prescribed in the Qur'an. The original idea was that non-Muslims, since they did not serve in the military, should pay for their protection by Muslims.

Today, most Muslims regard jizya as obsolete.In order to follow Qur'anic principles strictly, though, it would have to be reinstated. In 1997, the Muslim Brotherhood's Supreme Guide at the time, Mustafa Mashhur, did suggest reintroducing it but, in a country with around 6 million Christians, this caused uproar and the movement later backtracked. For non-Islamist Muslims, jizya presents no great problem: they can justify its abolition on the basis of historicity – that the circumstances in which the tax was imposed no longer exist today. For Islamists, though, this is much more difficult because the words of the Qur'an and the practices of the earliest Muslims form the core of their ideology.

The late Nasr Abu Zayd, a liberal theologian who was hounded out of Egypt by Islamists in the 1990s, regarded historicity as the crux of the issue. "If they concede historicity, all the ideology will just fall down," he said, "… the entire ideology of the word of God."

He argued that the brotherhood's semi-illegal status allows it to agitate and sloganise without needing to face the realities of everyday politics or having its policies subjected to much critical scrutiny.

Years of repression at the hands of the Egyptian authorities have made the brotherhood more interested in human rights than many might expect from an Islamist organisation. When the European parliament criticised Egypt's record in 2008, the Mubarak regime responded with fury, while Hussein Ibrahim, the brotherhood's parliamentary spokesman, sided with Europe.

"The issue of human rights has become a global language," he said. "Although each country has its own particulars, respect of human rights is now a concern for all peoples" – though he specifically excluded gay rights.

Rather than deploring criticism from abroad, he said, the Egyptian government would do better to improve its human rights record, which would leave less room for foreigners to cause embarrassment.

Erian, an outspoken reformist on the brotherhood's guidance council, is at pains to sketch out the limits of his organisation's political ambitions. He insists that it has no plans to run a candidate for the presidency, though any broad-backed opposition "unity" candidate will obviously need the brotherhood's approval.

But he goes further and says the brotherhood will not even seek a majority in parliament – a far cry from the predictions of many Washington-based analysts that it is waiting in the wings to seize control of the most populous Arab country.

"If we can build a wide coalition instead, this would be good," Erian says. "This is our strategy for many reasons: not to frighten others, inside or outside, and also because this is a country destroyed, destroyed by Mubarak and his family – why would the rebuilding task be only for us? It's not our task alone, it's the job of all Egyptians." He adds: "The Muslim Brothers are a special case because we are not seeking power through violent or military means like other Islamic organisations that might be violent. We are a peaceful organisation; we work according to the constitution and the law."

Khalil Al Anani, an expert on Egypt's political Islamists at Durham University, points out that during the protests the Brotherhood has made no specific political demands relating to its own goals.


"At the high level, they have made a smart tactical move in mandating ElBaradei to be a spokesman for Egyptian opposition forces, because it's a signal to the west. The Brotherhood don't want the west to diminish this revolution, and hence they don't want to give the west any excuse to support Mubarak. By putting ElBaradei up they avoid giving them that excuse."


Although outsiders often use words like "smart" and "savvy" when describing the brotherhood, some regard its missteps during the initial 25 January protests as an example of its incompetence. "In 83 years it has botched every opportunity," anthropologist Scott Atran wrote last week. "Its failure to support the initial uprising in Cairo on January 25 has made it marginal to the spirit of revolt now spreading through the Arab world."

But if the brotherhood is not seeking political power, what is its purpose? Josh Stacher, an expert on the movement, says it should be viewed in the context of its earlier anti-colonial struggle: "It's very much about providing Egyptian answers to Egyptian problems. Also, it's organised on a grassroots level. It offers people opportunities in a way that the Egyptian state doesn't. It's almost a mini parallel state without a military."

Among its members there is a division between those who want the group to concentrate on dawa, or social evangelism, and those who see political power as the ultimate goal. The former include people such as the current conservative supreme guide, Mohamed Badie, who see formal politics as only one part of an overall toolkit in the challenge to make Egyptian society more thoroughly Islamic.

It's a distinction that has long kept the brotherhood fragmented, leaving it more as an umbrella group for Islamist political forces of many different shades than as the monolithic vanquisher of liberal secular values so often portrayed in the international media. Erian acknowledges the existence of internal dissent, but claims the holistic nature of the Muslim Brotherhood, and indeed of Islam as a religion, means that these different outlooks can be a source of strength rather than a weakness.

"Islam is one unit – jobs or tasks can be divided," he says. "It's like the state – one unit, but with 40 or so ministers all doing their jobs. It's the same with us. We are ready to play a political role, but under the umbrella of a wider structure."

He goes on to compare the Brotherhood's workings to those of the individual. "I am an imam in the mosque near my home. I am a politician. I am a representative to the media. I am a physician – I go to the lab every night to look through microscopes. You cannot divide me. If time pressures push me towards one aspect, the others still can't be neglected."

As Egypt has changed over the past fortnight, with young people propelling themselves dramatically into the heart of the country's political future, so too has the brotherhood, where an ageing leadership clique has been challenged by a fresher generation of members, keen to take a more confrontational stance with the Mubarak regime and quicker to forge alliances with forces the brotherhood have traditionally not been warm towards, such as Coptic Christian and women's groups.

"The reformist wing within the brotherhood will be strengthened, at the expense of the conservative old guard," said Khalil al-Anani, an expert on Egypt's political Islamists at Durham University.

"The Mubarak regime was very skilful at exaggerating the influence of the Brotherhood and painting them as a threat to Egyptian society and to the west," he added. "It was the pretext for Mubarak's rule, and it was a lie. I think that if Egypt held free and fair elections tomorrow the Brotherhood would not get a majority; it would enjoy a significant presence in parliament but the overall makeup of seats would be pluralistic. This is the time for the west to rethink its attitudes to the Muslim Brotherhood. If they don't start assessing the weight of the brotherhood accurately, they will make major miscalculations in the coming days."

martes, 8 de febrero de 2011

A Hidden Treasure Struggles in Los Angeles


By ADAM NAGOURNEY
LOS ANGELES — The Watts Towers rose up against a clear blue sky as James Janisse unlocked the 10-foot-high gate that surrounds the soaring outdoor sculpture. “Behold the work of the man,” said Mr. Janisse, a tour guide, and his audience took it in: the Gaudiesque mashup of towers, cathedrals, fountains and ships, constructed from pipes, broken bottles, seashells and cracked ceramic, climbing 100 feet into the air.

The towers are an iconic work of folk art with a back story — built by an eccentric Italian immigrant working alone in his yard over 33 years — that is nearly as captivating as the installation itself.

But they are endangered, threatened by budget cuts that are crushing governments across the nation. And they are struggling to draw crowds to this neighborhood that is far off the tourist track and is still identified, despite the passage of so much time, with some of the worst urban riots in American history.

Amid increased concern about the towers’ fate, the City of Los Angeles, which operates the installation, last month contracted the Los Angeles County Museum of Art to restore and maintain it; the three city workers in charge of taking care of the site were lost to budget cuts. The museum is turning to its donor network to raise money for the project — preliminary estimates put the initial restoration at $5 million — and not incidentally, to promote the installation to arts patrons in Los Angeles itself.

“The towers need care,” said Michael Govan, the museum’s director. “They are one of the most extraordinary works of art in the nation. I send everybody to see it; it is so compelling.”

But for the museum, promoting the towers might be as daunting as keeping them in shape. Mr. Janisse’s tour group the other day consisted of five paying tourists, two of them from Italy. Officials said a majority of the 45,000 people who visit each year are from overseas. The Watts Towers may hold the twin distinctions of being perhaps the finest example of indigenous Los Angeles art and the least known, or least visited, by people who live in the region.

“They have not been marketed well in this city,” said Luisa Del Giudice, a scholar who organized a conference on the Watts Towers in 2009 for the University of Genoa and the University of California, Los Angeles. “You get a lot of Europeans coming, and the first thing they want to do is see the Watts Towers. It’s an international icon, but it’s a local blind spot.”

“They are an amazing thing,” Dr. Del Giudice said. “They are pure creativity. I’m an Italian oral historian, and when I started visiting the towers I was blown away.”

They are not easy to visit. The towers are open for tours just four days a week. Most people who come to Watts view the installation from outside the locked gates, an impressive enough view but one that deprives visitors of the dazzling details inside: the cactus garden, church buttresses, detailed flowers decorating the floor and what remains of the house of the man who built it all, Simon Rodia.

“We Angelenos have done a pretty poor job of showing our love for one of our greatest treasures,” Hector Tobar, a columnist for The Los Angeles Times, wrote last year.

While some restoration is clearly necessary, the towers are not in a state of disrepair. But given the intricacy of the work and the fragility of the products — not to mention the fact that they are outdoors, and the propensity of the ground in this part of the world to shake — they have always required a good deal of care and maintenance.

“My biggest concern right now is making sure the towers are stable and safe,” said Olga Garay, the executive director of the city’s Department of Cultural Affairs.

The attendance problem is due, as much as anything, to where the towers are: 18 miles from the Los Angeles County Museum of Art (which had 914,396 visitors last year), 25 miles from Disneyland (which drew 15.9 million visitors in 2009) and 13 miles from downtown Los Angeles. They are hard to find without a map, or a G.P.S. device.

More than that, no matter how this South Los Angeles neighborhood has changed over the years, Watts is remembered for the grainy television images of urban violence in 1965, and again in 1992. The South Central riots that year brought a visit to the area by Bill Clinton, then a Democratic candidate for president, who stopped by the home of Representative Maxine Waters.

The towers are here because Mr. Rodia, the artist, settled on a plot of land that was large enough to hold what would be 17 structures in his installation and provided a captive audience. It is adjacent to an abandoned trolley. The other plot he considered would have been more accessible, on Wilshire Boulevard in Beverly Hills. Just as well: the Beverly Hilton, now on that site, is in the heart of one of the most fashionable shopping strips in the country.

City officials said they were hopeful that the art museum, with its devoted clientele, would steer more people to this part of town. Mr. Govan said one idea being considered was to run a regular shuttle bus to Watts from the museum itself, which is along Museum Mile in the Mid-Wilshire section of Los Angeles.

Yet none of this promises to be easy. The Los Angeles County Museum of Art, known as Lacma, is in many ways a symbol of Los Angeles society and wealth, and its perceived intervention in an overwhelmingly Hispanic neighborhood long identified with poverty has been uneasy.

People who work at the Watts Towers Art Center, which runs the tours, are deeply skeptical of the museum’s involvement, with some suggesting that Lacma is trying to co-opt Watts Towers to raise money for its other endeavors.

“I am trying to figure out what Lacma is doing here,” said Rosie Lee Hooks, the director of the center, which celebrates the towers and includes local contemporary art. “We’ve been here 50 years. I think they ought to plan about what they need to do, and come down and meet with us before they start showing the baby off.”

Still, Ms. Hooks added: “We have not had to raise money until now as a city facility. The dollars are running out. We realize we have to bring in some supporters.”

lunes, 7 de febrero de 2011

The Work of Art in the Age of Google


By ROBERTA SMITH
If art is among your full-blown obsessions or just a budding interest, Google, which has already altered the collective universe in so many ways, changed your life last week. It unveiled its Art Project, a Web endeavor that offers easy, if not yet seamless, access to some of the art treasures and interiors of 17 museums in the United States and Europe.

It is very much a work in progress, full of bugs and information gaps, and sometimes blurry, careering virtual tours. But it is already a mesmerizing, world-expanding tool for self-education. You can spend hours exploring it, examining paintings from far off and close up, poking around some of the world’s great museums all by your lonesome. I have, and my advice is: Expect mood swings. This adventure is not without frustrations.

On the virtual tour of the Uffizi in Florence the paintings are sometimes little more than framed smudges on the wall. (The Dürer room: don’t go there.) But you can look at Botticelli’s “Birth of Venus” almost inch by inch. It’s nothing like standing before the real, breathing thing. What you see is a very good reproduction that offers the option to pore over the surface with an adjustable magnifying rectangle. This feels like an eerie approximation, at a clinical, digital remove, of the kind of intimacy usually granted only to the artist and his assistants, or conservators and preparators.

There are high-resolution images of more than 1,000 artworks in the Art Project (googleartproject.com) and virtual tours of several hundred galleries and other spaces inside the 17 participating institutions. In addition each museum has selected a single, usually canonical work — like the Botticelli “Venus” — for star treatment. These works have been painstakingly photographed for super-high, mega-pixel resolution. (Although often, to my eye, the high-resolution version seems as good as the mega-pixel one.)

The Museum of Modern Art selected van Gogh’s “Starry Night,” and you can see not only the individual colors in each stroke, but also how much of the canvas he left bare. The Metropolitan Museum of Art’s star painting is Bruegel’s “Harvesters,” with its sloping slab of yellow wheat and peasants lunching in the foreground. Deep in the background is a group of women skinny-dipping in a pond that I had never noticed before.

In the case of van Gogh’s famous “Bedroom,” the star painting chosen by the Van Gogh Museum in Amsterdam, I was able to scrutinize the five framed artworks depicted on the chamber’s walls: two portraits, one still life and two works, possibly on paper, that are so cursory they look like contemporary abstractions. And I was enthralled by the clarity of the star painting of the National Gallery in London, Hans Holbein’s “Ambassadors,” and especially by the wonderful pile of scientific instruments — globes, sun dials, books — that occupy the imposing two-tiered stand flanked by the two young gentlemen.

Google maintains that, beyond details you may not have noticed before, you can see things not normally visible to the human eye. And it is probably true. I could make out Bruegel’s distant bathers when I visited the Met for a comparison viewing, but not the buttocks of one skinny-dipper, visible above the waves using the Google zoom. Still, the most unusual aspects of the experience are time, quiet and stasis: you can look from a seated position in the comfort of your own home or office cubicle, for as long as you want, without being jostled or blocked by other art lovers.

At the same time the chance to look closely at paintings, especially, as made things, really to study the way artists construct an image on a flat surface, is amazing, and great practice for looking at actual works. And while the Internet makes so much in our world more immediate, it is still surprising to see what it can accomplish with the subtle physicality of painting, whether it is the nervous, fractured, tilting brush strokes of Cezanne’s “Château Noir” from 1903-4, at the Museum of Modern Art, or the tiny pelletlike dots that make up most of Chris Ofili’s “No Woman No Cry” from about a century later at the Tate Modern in London (the only postwar work among the 17 mega-pixel stars).

The Ofili surface also involves collaged images of Stephen Lawrence, whose 1993 murder in London became a turning point in Britain’s racial politics; along with scatterings of glitter that read like minuscule, oddly cubic bits of gold and silver; and three of those endlessly fussed-over clumps of elephant dung, carefully shellacked and in two cases beaded with the word No. Take a good look and see how benign they really are. (You can also see the painting glow in the dark, revealing the lines “R.I.P./Stephen Lawrence/1974-1993.”)

Another innovation of the Art Project is Google’s adaptation of its Street View program for indoor use. This makes it possible, for example, to navigate through several of the spacious salons at Versailles gazing at ceiling murals — thanks to the 360-degree navigation — or to get a sharper, more immediate sense than any guidebook can provide of the light, layout and ambience of the Tretyakov Gallery in Moscow. It also means that if your skill set is shaky, you can suddenly be 86’ed from the museum onto the street, as I was several times while exploring the National Gallery.

Keep in mind that usually only a few of the many, many works encountered on a virtual tour are available for high-res or super-high-res viewing. And those few aren’t always seen in situ, hanging in a gallery. The architectural mise-en-scène is the main event of the virtual tours in most cases, from the Uffizi’s long, grand hallways to the gift shop of the Rijksmuseum in Amsterdam and the modest galleries of the Kampa Museum in Prague, where the star paintings is Frantisek Kupka’s 1912-13 “Cathedral,” the only abstraction among what could be called the Google 17.

The Art Project has been hailed as a great leap forward in terms of the online art experience, which seems debatable, since most museums have spent at least the last decade — and quite a bit of money — developing Web access to works in their collections. On the site of the National Gallery, for example, you can examine the lush surface of Velázquez’s “Rokeby Venus” with a zoom similar to the Art Project’s. Still, Google offers a distinct and extraordinary benefit in its United Nations-like gathering of different collections under one technological umbrella, enabling easy online travel among them.

When you view a work by one artist at one museum, clicking on the link “More works by this artist” will produce a list of all the others in the Art Project system. But some fine-tuning is needed here. Sometimes the link is missing, and sometimes it links only to other works in that museum. Other tweaks to consider: including the dates of the works on all pull-down lists, and providing measurements in inches as well as centimeters.

Despite the roster of world-class museums, there are notable omissions: titans like the Louvre and the Musée d’Orsay in Paris, the Prado in Madrid and the Kunsthistorisches Museum in Vienna, not to mention most major American museums, starting with the National Gallery in Washington. Without specifying who turned it down, Google says that many museums were approached, that 17 signed on, and that it hopes to add more as the project develops.

This implies an understandable wait-and-see attitude from many institutions, including some of the participants. The Museum of Modern Art, for example, has made only one large gallery available — the large room of French Post-Impressionist works that kicks off its permanent collection displays — along with 17 paintings that are all, again, examples of 19th-century Post-Impressionism. (Oh, and you can wander around the lobby.)

On first glance this seems both unmodern in focus and a tad miserly, given that several museums offer more than 100 works and at least 15 galleries. But MoMA is being pragmatic. According to Kim Mitchell, the museum’s chief communications officer , the 17 paintings “are among the few in our collection that do not raise the copyright-related issues that affect so many works of modern and contemporary art.” In other words, if and when the Art Project is a clear success, the Modern will decide if it wants to spend the time and money to secure permission for Picasso’s “Demoiselles d’Avignon” and the like to appear on it.

This might also hold true for the Museo Reina Sofia in Madrid, which owns Picasso’s “Guernica,” but has so far limited its participation primarily to 13 paintings by the Cubist Juan Gris and 35 photographs from the Spanish Civil War. Needless to say, the works and galleries that each museum has selected for the first round of the Art Project makes for some interesting institutional psychoanalysis.

From where I sit Google’s Art Project looks like a bandwagon everyone should jump on. It makes visual knowledge more accessible, which benefits us all.

In many ways this new Google venture is simply the latest phase of simulation that began with the invention of photography, which is when artworks first acquired second lives as images and in a sense, started going viral. These earlier iterations — while never more than the next best thing — have been providing pleasure for more than a century through art books, as postcards, posters and art-history-lecture slides. For all that time they have been the next best thing to being there. Now the next best thing has become better, even if it will never be more than next best.

sábado, 5 de febrero de 2011

Prime Minister Criticizes British ‘Multiculturalism’ as Allowing Extremism


By JOHN F. BURNS
LONDON — Faced with growing alarm about Islamic militants who have made Britain one of Europe’s most active bases for terrorist plots, Prime Minister David Cameron has mounted an attack on the country’s decades-old policy of “multiculturalism,” saying it has encouraged “segregated communities” where Islamic extremism can thrive.

Speaking at a security conference in Munich on Saturday, Mr. Cameron condemned what he called the “hands-off tolerance” in Britain and other European nations that had encouraged Muslims and other immigrant groups “to live separate lives, apart from each other and the mainstream.”

He said that the policy had allowed Islamic militants leeway to radicalize young Muslims, some of whom went on to “the next level” by becoming terrorists, and that Europe could not defeat terrorism “simply by the actions we take outside our borders,” with military actions like the war in Afghanistan.

“Europe needs to wake up to what is happening in our own countries,” he said. “We have to get to the root of the problem.”

In what aides described as one of the most important speeches in the nine months since he became prime minister, Mr. Cameron said the multiculturalism policy — one espoused by British governments since the 1960s, based on the principle of the right of all groups in Britain to live by their traditional values — had failed to promote a sense of common identity centered on values of human rights, democracy, social integration and equality before the law.

Similar warnings about multiculturalism have been sounded by Chancellor Angela Merkel of Germany and by President Nicolas Sarkozy of France. But, if anything, Mr. Cameron went further. He called on European governments to practice “a lot less of the passive tolerance of recent years and much more active, muscular liberalism,” and said Britain would no longer give official patronage to Muslim groups that had been “showered with public money despite doing little to combat terrorism.”

Perhaps most controversially, he called for an end to a double standard that he said had tolerated the propagation of radical views among nonwhite groups that would be suppressed if they involved radical groups among whites.

Muslim groups in Britain were quick to condemn the speech, among them the Muslim Council of Great Britain, a major recipient of government money for projects intended to combat extremism. Its assistant secretary general, Faisal Hanjra, said Mr. Cameron had treated Muslims “as part of the problem as opposed to part of the solution.”

A Muslim youth group, the Ramadhan Foundation, accused the prime minister of feeding “hysteria and paranoia.” Mohammed Shafiq, the group’s chief executive, said Mr. Cameron’s approach would harden the divide between Muslims and non-Muslims, “and we cannot allow that to happen.”

British leaders, particularly from the Conservative Party, which Mr. Cameron leads, have mostly been careful to avoid arguments that might expose them to charges of holding racially tinged views since a notorious speech in 1968 in which Enoch Powell, a leading Conservative, warned of “rivers of blood” if nothing was done to curb Caribbean immigration to Britain.

“We have failed to provide a vision of society to which they feel they want to belong,” Mr. Cameron said, speaking of immigrant groups, dominated by Muslims, whose numbers have been estimated in some recent surveys at 2.5 million in Britain’s population of 60 million. Britain’s domestic intelligence service, MI5, has said that as many as 2,000 Muslims in Britain are involved in terrorist cells, and that it tracks dozens of potential terrorist plots at any one time.

Mr. Cameron continued: “We have even tolerated these segregated communities behaving in ways that run counter to our values. So when a white person holds objectionable views — racism, for example — we rightly condemn them. But when equally unacceptable views or practices have come from someone who isn’t white, we’ve been too cautious, frankly even fearful, to stand up to them.”

The prime minister pointed to several steps the government planned that would tackle the rise of extremism. Among these, he said, would be barring “preachers of hate” from visiting Britain to speak in mosques and community centers; stopping Muslim groups that propagate views hostile to values of gender equality, democracy and human rights “from reaching people in publicly funded institutions like universities and prisons”; and cutting off government support for such groups.

The prime minister’s speech came at the end of a week in which Britain’s role as a base for Islamic terrorists as well as the behind-the-scenes pressure applied by the United States for actions that would deal more effectively with the threat have drawn fresh attention.

On Thursday, the government’s official watchdog on antiterrorist issues, Lord Alexander Carlile, issued a final report before retiring in which he said that Britain had become a “safe haven” for terrorists, primarily because of rulings by the European Court of Human Rights, that made it difficult to deport people considered terrorist risks, and other decisions that curbed the application of British antiterrorist laws.

For years, and particularly since the attacks of Sept. 11, 2001, American officials have been frustrated by what they see as an insufficiently robust crackdown on terrorist groups in Britain, which have been identified in Congressional testimony and elsewhere as a leading threat to American security.

viernes, 4 de febrero de 2011

Un año más para buscar el Higgs en el LHC

Los especialistas realizan mediciones de control en el túnel del acelerador LHC, mientras está parado.- CERN


El veterano acelerador estadounidense Tevatron, el segundo más potente del mundo, dejará de funcionar en 2011
ALICIA RIVERA - Madrid - 04/02/2011

El objetivo emblemático del LHC, el gran acelerador de partículas europeo, el bosón de Higgs, relacionado con el origen de la masa de muchas partículas, puede estar al alcance de la mano en un par de años, según los responsables del Laboratorio Europeo de Física de Partículas. Para aumentar las posibilidades del hallazgo, se ha variado el plan de operación del LHC (junto a Ginebra), que seguirá funcionando casi ininterrumpidamente y proporcionando datos a los miles de físicos empeñados en la búsqueda durante dos años más con su actual energía. El plan hasta ahora era detener la gran máquina científica a finales de este año para ponerla en condiciones de mejorar sus prestaciones (aumentar la energía) y reiniciar su funcionamiento unos meses después. "Si la naturaleza es amable con nosotros y la partícula de Higgs está en el rango actual del LHC, podremos tener suficientes datos en 2011 para ver ya indicios, pero no sería suficiente para que fuera un auténtico descubrimiento, mientras que al operar el acelerador durante 2012 podríamos tener los datos suficientes para convertir esos indicios en hallazgo", ha explicado Rolf Heuer, director del CERN.

Mientras tanto, el Tevatron, el veterano acelerador estadounidense que era el de más alta energía del mundo hasta que arrancó el LHC, se cerrará a finales de este año, según han anunciado el Departamento de Energía de EEUU, que ha decidido no prolongar su financiación. Esto significa prácticamente el fin de las aspiraciones del otro lado del Atlántico a ganar la carrera del Higgs al LHC, aspiraciones seguramente menos realistas de lo que se ha venido sugiriendo desde el entorno del Tevatron.

¿Por qué exige tanto tiempo descubrir una partícula como el Higgs, si los acelerados producen ingentes cantidades de datos por segundo? Para entenderlo de una forma sencilla: es algo así como intentar hacer una foto de unas gotas de agua en una zona donde apenas llueve, por lo que habrá que estar pendiente de las nibes durante un plazo de tiempo largo para que caiga un chaparrón. Las probabilidades de que se genere esta partícula en las colisiones provocadas en el acelerador son muy bajas, es decir, que hay que provocar trillones de choques de protones en el LHC para que surja el Higgs, y no basta con uno para estar seguros.

Rolf Heuer, director del CERN (a la derecha) junto a su colega Pier Oddone, director de Fermilab, (izquierda) durante una visita de este último al laboratorio europeo el pasado miércoles.- CERN



El cambio de planes del CERN se debe, en parte, a que el LHC, como ha destacado Heuer, está funcionando muy satisfactoriamente. Pero además, las operaciones en la máquina necesarias para poder duplicar su energía y alcanzar los 14 teraelectronvoltios (7 TeV por haz) previstos, van a ser más largas de lo que se calculó. Es posible que se prolonguen hasta dos años y no se reinicie la operación del acelerador hasta 2015, aunque el calendario oficial indica un año de trabajo para reabrir en 2014. Se trata de revisar y reforzar todas las soldaduras de los centenares de imanes que configuran el LHC (de casi 25 kilómetros de circunferencia) e instalar sistemas suplementarios de seguridad de la propia máquina.

De momento el LHC está parado (se inició la interrupción invernal rutinaria de los aceleradores del CERN a mediados de diciembre para hacer ajustes menores) y empezará a funcionar el próximo 21 de febrero. En dos años más de datos, los científicos del laboratorio europeo confían en tener suficiente información para encontrar el Higgs, si está en el rango de energía que abarca ahora el acelerador, y Heuer incluso apunta que podrían hacerse más descubrimientos, como una nueva hipotética nueva familia de partículas elementales denominadas supersimétricas. Otros no son tan optimistas.

En cuanto al Tevatron, con una buena trayectoria de hallazgos, incluido el último quark, el top, en 1995, tiene ahora sus posibilidades de llevarse el trofeo del Higgs drásticamente reducidas al contar con sólo unos meses más de operaciones. "El Tevatron ha sido la frontera de la alta energía en la física de partículas durante más de un cuarto de siglo", ha dicho Heuer, señalando que el testigo de esa frontera pasó al LHC a finales de 2009, cuando se superó en el acelerador europeo la energía de la máquina estadounidense.

Uno de los detectores del acelerador Tevatron, en erl laboratorio Fermilab (Chicago).- FERMILAB


Los físicos habían pedido al Departamento de Energía prolongar el funcionamiento del Tevatron (un anillo de 6,3 kilómetros) hasta 2014, lo que exigía una financiación de 35 millones de dólares, con la esperanza de ganar al LHC, que tuvo problemas técnicos hasta empezar a andar. Pero finalmente se ha decidido interrumpir definitivamente las colisiones de partículas en esa máquina estadounidense dentro de unos meses -la fecha aún no se ha fijado-. El temor a que alargar la vida de este veterano acelerador repercutiera negativamente en la financiación de otros experimentos de física de partículas en marcha o planeados en EEUU parece haber inclinado la decisión hacia el cierre, según ha informado la revista Nature. Además, en una ciencia tan internacional como esta no se puede decir que ganen los especialistas de un lado del Atlántico a los del otro, ya que centenares de estadounidenses participan en el LHC y no pocos expertos de este proyecto europeo que iniciaron su carrera en el Tevatron mantienen aún la doble militancia. En realidad la competición por llevarse el Higgs al agua entre Europa y EEUU sería más una cuestión política que científica, pero en la situación actual, con las perspectivas del LHC y el cierre de Fermilab todo apunta hacia Ginebra.