Meanwhile in Australia. pic.twitter.com/RBAFFe09Vm

— John. (@JohnFloreani) September 16, 2020

HT: Ann Althouse via Bird Dog via Karen L. Myers.

The moth and fly embroideries are as elaborate and astonishing as the naturalistic trout fly imitations devised by the late Bill Blades. Cf. William Blades, Fishing Flies and Fly-Tying, 1951.

CNN:

The perfectly preserved remains of an Ice Age cave bear have been discovered in the Russian Arctic — the first example of the species ever to be found with soft tissues intact.

The astonishing find was made by reindeer herders on the Lyakhovsky Islands, which are part of the New Siberian islands archipelago in Russia’s Far North.

Prior to this, only the bones of cave bears had been unearthed, but this specimen even had its nose intact, according to a team of scientists from the North-Eastern Federal University (NEFU) in Yakutsk, Siberia.

The discovery is of “world importance,” a leading Russian expert on extinct Ice Age species said.

In a statement released by the university, scientist Lena Grigorieva said: “Today this is the first and only find of its kind — a whole bear carcass with soft tissues. It is completely preserved, with all internal organs in place including even its nose.

“Previously, only skulls and bones were found. This find is of great importance for the whole world.”

The adult animal was found by a group of reindeer herders, who then transferred the right to research the specimen to the NEFU, which is at the forefront of research into extinct woolly mammoths and rhinos.

According to the team, the cave bear (Ursus spelaeus) is a prehistoric species or sub-species that lived in Eurasia in the Middle and Late Pleistocene period and became extinct some 15,000 years ago. Preliminary analysis suggests the bear is between 22,000 and 39,500 years old.

RTWT

Columbia University Marching Band.

Readers need to be aware that for many decades, going back to at least the late 1960s, a number of Ivy League colleges’ bands (including Yale’s as well as Columbia’s) went completely tongue-in-cheek, and instead of delivering half time performances of college fight songs, began competing with one another and themselves to achieve higher levels of outrageous and off-color humor.

In recent years, clearly the Columbia Band carried on its tradition of satire offending the tender sensibilities of the Wokenati. Epataying the bourgeoisie’s old time standards of speech involving obscenity and sexuality used to be looked upon as progressive and cool. But you mess with politically correct taboos connected with Identity Groups and the Politics of Victimization at your peril.

The Columbia Spectator reports that the famous Columbia Marching Band has been obliged to make an apology Japanese-style.

The self-proclaimed “cleverest band in the world” voted to disband the organization on Saturday evening after 116 years of performing music, making controversial jokes, and disputing with both Columbia’s administration and the student body.

In a statement provided to Spectator by band leadership, the club’s leadership, known as the Bored, wrote, “The Band has unanimously and enthusiastically decided to dissolve. The Columbia University Marching Band will not continue to exist in any capacity and will no longer serve as a Columbia spirit group.”

This announcement came after a year of transition for the CUMB. Three days before Columbia football’s 2019 home opener, Columbia Athletics stripped the band of the remainder of its University funding. One year prior, Columbia College and the School of Engineering and Applied Science withdrew their portion of the CUMB’s funding in response to the band storming Butler Library during Orgo Night in December 2017. The athletic department informed the band that in order to maintain the band’s funding from the department, it must become a recognized group. The marching band did not submit its paperwork for recognition and was subsequently financially cut off from the University and prohibited from performing or bringing instruments to any official athletic events.

The marching band protested this decision by holding weekly field shows on Low Steps and starting a GoFundMe, which raised over $25,000 in less than a week. The marching band and the athletic department agreed that the CUMB would play at Homecoming, putting to rest the latest iteration of a decades-long struggle between the band, the University, Columbia Athletics, and the student body.

The internal movement to disband the CUMB began when five former and current members wrote a letter to the remaining members of the Bored. The members called to dissolve the band in all capacities, arguing that alleged traditions of misconduct were too steeped into the band’s culture and reformation could not remove the traces of the harm those practices caused.

In response to those confessions, the Bored released a statement on Sept. 2, writing, “The CUMB has very serious problems when it comes to racism, sexual assault, and alcohol culture.” The statement was followed by multiple Bored member resignations and repeated calls to dissolve the organization.

It remains up in the air whether the marching band will lose its funding through dissolution. Ultimately, the decision of whether or not an official marching band exists is up to the discretion of Columbia Athletics, which has not responded to a request for comment. Without sporting events until at least January, the CUMB cannot play this fall.

“The current Band hopes that the Band’s dissolution will provide relief to the present suffering of the Columbia community and time to heal from the decades of harm caused by this organization. We also hope that the CUMB’s disbandment can create a space that allows for the formation of a new spirit group that will provide a safe and inclusive outlet for students to play music at Columbia,” the Bored wrote in a statement.

RTWT

Ford Maddox Ford.

I was browsing through the index of people appearing in Ford Madox Ford’s biography and suddenly:

“Hemingway, Ernest
(…)
attacks Ford and threatens to grind Eliot to a fine dry powder
(…)”

From The Fox Hunting Man.

https://explorethearchive.com/john-burns-war-of-1812-gettysburg-soldier?sid=a7c5c9de8b6135a442b6cf37d5e484df&utm_source=Sailthru&utm_medium=email&utm_campaign=Archive%20Weekly%20Newsletter%202020-09-14&utm_term=Explore%20The%20Archive
John Burns became a very early photographic subject after the battle.

The Archive:

[I]magine a veteran of the War of 1812 and the Mexican War fighting in the Civil War. That’s a span of more than 60 years—much longer than the 24 years that separated the beginning of WWII and the Vietnam War. Then again, during the 20th century, pivotal battles weren’t literally in our front yard.

An average 69-year-old might be happy to ride out his golden years from a rocking chair.

But not John Burns.

He fought in the War of 1812 and the Mexican War and even tried to work as a supply driver for the Union Army but was sent back to his home in Gettysburg, Pennsylvania.

He wasn’t too happy to be excluded from the war.

See, Burns already lived nearly twice as long as the average American of the time and was ready to do more for his country. But Gettysburg was much further north than the Confederates could ever attack—or so he thought.

Burns was considered “eccentric” by the rest of the town. That’s what happens when you’re fighting wars for longer than most people at the time spent in school.

When Confederate Gen. Jubal Early captured the town, Burns was the constable and was jailed for trying to interfere with Confederate military operations. When the Confederates were pushed out of Gettysburg by the Union, Burns began arresting Confederate stragglers for treason.

His contributions to the Union didn’t end there.

On the morning of July 1, 1863, Burns watched as the Battle of Gettysburg began to unfold near his home. Like a true American hero, he picked up his rifle—a flintlock musket, which required the use of a powder horn—and calmly walked over to the battle to see how he could help.

He “borrowed” a more modern musket (now a long-standing Army tradition) from a wounded Union soldier, picked up some cartridges, then walked over to the commander of the 150th Pennsylvania Infantry and asked to join the regiment.

This time, he wasn’t turned away, though the 150th Pennsylvania commanders did send Burns to Herbst Woods, away from where the officers believed the main area of fighting would be.

They were wrong.

Herbst Woods was the site of the first Confederate offensive of the battle. Burns, sharpshooting for the Iron Brigade, helped repel this offensive as part of a surprise counterattack.

John Burns was mocked by other troops for showing up to fight with his antiquated weapon and “swallowtail coat with brass buttons, yellow vest, and tall hat”. But when the bullets started to fly, he calmly took cover behind a tree and started to shoot back with his modern rifle.

He also fought alongside the 7th Wisconsin Infantry and then moved to support the 24th Michigan. He was wounded in the arm, legs, and chest and was left on the field when the Union forces had to fall back.

He ditched his rifle and buried his ammo and then passed out from blood loss. He tried to convince the Rebels he was an old man looking to find help for his wife, but accounts of how well that story worked vary. Anyone fighting in an army outside of a uniform could be executed, but the ruse must have worked on some level—he survived his wounds and lived for another nine years.

RTWT

Burns was photographed (being a hero in the North), had a poem written about him by Brett Harte, and has his own monument on the battlefield.

University of Chicago

Faculty Statement (July 2020):

The English department at the University of Chicago believes that Black Lives Matter, and that the lives of George Floyd, Breonna Taylor, Tony McDade, and Rayshard Brooks matter, as do thousands of others named and unnamed who have been subject to police violence. As literary scholars, we attend to the histories, atmospheres, and scenes of anti-Black racism and racial violence in the United States and across the world. We are committed to the struggle of Black and Indigenous people, and all racialized and dispossessed people, against inequality and brutality.

For the 2020-2021 graduate admissions cycle, the University of Chicago English Department is accepting only applicants interested in working in and with Black Studies. We understand Black Studies to be a capacious intellectual project that spans a variety of methodological approaches, fields, geographical areas, languages, and time periods. For more information on faculty and current graduate students in this area, please visit our Black Studies page.

The department is invested in the study of African American, African, and African diaspora literature and media, as well as in the histories of political struggle, collective action, and protest that Black, Indigenous and other racialized peoples have pursued, both here in the United States and in solidarity with international movements. Together with students, we attend both to literature’s capacity to normalize violence and derive pleasure from its aesthetic expression, and ways to use the representation of that violence to reorganize how we address making and breaking life. Our commitment is not just to ideas in the abstract, but also to activating histories of engaged art, debate, struggle, collective action, and counterrevolution as contexts for the emergence of ideas and narratives.

English as a discipline has a long history of providing aesthetic rationalizations for colonization, exploitation, extraction, and anti-Blackness. Our discipline is responsible for developing hierarchies of cultural production that have contributed directly to social and systemic determinations of whose lives matter and why. And while inroads have been made in terms of acknowledging the centrality of both individual literary works and collective histories of racialized and colonized people, there is still much to do as a discipline and as a department to build a more inclusive and equitable field for describing, studying, and teaching the relationship between aesthetics, representation, inequality, and power.

In light of this historical reality, we believe that undoing persistent, recalcitrant anti-Blackness in our discipline and in our institutions must be the collective responsibility of all faculty, here and elsewhere. In support of this aim, we have been expanding our range of research and teaching through recent hiring, mentorship, and admissions initiatives that have enriched our department with a number of Black scholars and scholars of color who are innovating in the study of the global contours of anti-Blackness and in the equally global project of Black freedom. Our collective enrichment is also a collective debt; this department reaffirms the urgency of ensuring institutional and intellectual support for colleagues and students working in the Black studies tradition, alongside whom we continue to deepen our intellectual commitments to this tradition. As such, we believe all scholars have a responsibility to know the literatures of African American, African diasporic, and colonized peoples, regardless of area of specialization, as a core competence of the profession.

RTWT

You could as easily accuse any university English Department of systematically being anti-Lithuanian, anti-French, anti-Japanese, or anti-Eskimo (excuse me! Inuit) for its shameful neglect of the artistic legacy of any, or all, of the above, and for its “aesthetic rationalizations” of the unequal representation of Lithuanians, Frenchmen, &c. in their universities’ student bodies, in high-paying elite positions in American investment banks and Wall Street Law Firms, and in Supreme Court Appointments.

Personally, I think sane people with a deep interest in English Literature are just as well off not studying under such a collection of lachrymose and deranged Marxists as apparently currently infest Chicago’s English Department.

That distant buzzing sound you hear is the late Allan Bloom, author of The Closing of the American Mind: How Higher Education Has Failed Democracy and Impoverished the Souls of Today’s Students, spinning in his grave at 78 rpm.

July 1941. “Store with cap guns and fireworks for sale, Fourth of July, Vale, Oregon.”

Cap guns were still legal when I was a boy.

From Shorpy’s.

Luciana Parisi is Professor in Media Philosophy at the Program in Literature and the Computational Media Art and Culture at Duke University.

On Friday, September 18, 2020 – 9:30am to 11:00am, she will be delivering a talk on “Recursive Colonialism and Speculative Computation.”

Talk description:

Recursivity is a generic dispositif of power at the core of the colonial logic of capital. It defines the entanglement of algorithmic functions in computational prediction with the rules of knowing. Recursive algorithms give us the droste effect of a spiral of the same. Today, recursivity returns in the automated condition of planetary incarceration through hyperdisciplinary confinement and necropolitical killing enmeshed with algorithmic solutions of self-governance packed in our mobile phones. However, since speculative computation has indeterminacy as input, it has the capacity to trans-originate collective, cosmotechnical, abolitionist conditions of knowing. The COVID-19 contingency summons us to refuse the recursive violence defining immunity and to embrace the mutations of collective desire demanding the total abolition of the exceptional auto-immunity of the Universal Man.

The sender commented: “If one of my students wrote this I would simply assume: ‘Drugs’.”