Matt Yglesias against Land Acknowledgements

Matt Yglesias attended a big "Power to the People" concert last week:

At the climax, everyone came up on stage and the Boss led this whole crowd of musicians in a rousing rendition of Woody Guthrie’s classic leftist folk song “This Land Is Your Land.” Morello made a big deal about how they were going to sing the full version of the song, including the verses suppressed in many schools for their unduly leftist lyrics. (I was raised by weird leftists and taught this song at a very left-wing Ethical Culture day camp, so I had no idea there was any other version!)

Morello, at any rate, interrupted the song at one point to argue that Guthrie knew “that every inch of this land was stolen from the Indigenous people, so this land is actually their land.”

I don’t think this is factually correct about Guthrie’s politics. He and this song have long been a target of Native activists and intellectuals precisely because the rhetorical power of the song comes from denying the stolen land accusation. The point is that the American people (“you and me”) have a collective claim on American prosperity.

Exactly. The basic point of the American leftist tradition is to say that all Americans, just by virtue of being American, have a right to a decent life, and to a share of the nation's growing wealth. If you think that the United States is a fundamentally illegitmate project based on theft, what basis could you possibly have for assigning moral value to American citizenship?

After a long tour through some of the worst sins of Trump and MAGA, Yglesias comes back to this:

Yet to return to Power to the People, I don’t think you can defend American democracy or the rule of law or the basic humane interest in not seeing Medicaid and SNAP slashed while the administration cuts taxes for the rich and loots the Treasury for propaganda ads if you also accept the premise that the whole country is an illegitimate enterprise founded on theft.

It doesn’t make sense logically. It doesn’t work politically. It on some level fuels a kind of cynicism that just enables Trump and his gang of crooks.

We seem to be torn between a group of people who want to tear down the substance of all of our ideals and a group who want to tear down the notion that these ideals are worth having.

If you want to make America better, you MUST believe that America is worthy of being made great. If you start from the premise that this is stolen land, or that the sin of slavery cancels out all the noble ideals of the founding, you have made the nation fundamentally not worth saving, and effectively handed it over the Trump or even worse fascists.

Mythic Visions from Cristophe Charbonnel

Cristophe Charbonnel is a French sculptor born in 1967. He got his start as a costume designer and modeler for Disney. He seems to have sold his first solo works around 2006, when he was nearly 40. What drew me is a series of mythic bronzes he executed in the 2010s. Above, Poseidon, 2018.

Head of a Pilot, 2010. Many of these are incomplete, as if part had been lost to the ravages of time.

Forest Guardian, 2019.

Lug, 2019.

Gaia, 2019

Theseus and the Amazon, 2019

Gallery views. More at his web site.

The Datacenter War

Russia and Ukraine have moved on to a new target set in their long-range strike campaigns: datacenters. It appears that Russia started this a few weeks ago, but now Ukraine has reciprocated with strikes on at least two Yandex facilities.

I suppose western datacenter haters are loving these images, and are actively fantasizing about doing this to our own facilities.

But Russian commentators have pointed out that this may be a bad move for Russia. This is Artjockey, via ChrisO:

Ukraine had been prepared for this scenario almost from the very start of the war—and even before that. Even prior to the invasion, when it was clear to everyone that it was virtually inevitable, a law was passed allowing for the temporary storage of state registries abroad.

Immediately after the war began, Amazon allocated 10 petabytes of free cloud storage to Kyiv; data from registries, ministries, universities, and schools was migrated there, ensuring their operations never ceased.

Subsequently, Microsoft and European data centres also provided assistance to Ukraine. The protection of digital infrastructure was spearheaded by the Ministry of Digital Transformation, led by Mykhailo Fedorov — the very same person who, not long ago, briefly held the post of Minister of Defence. Consequently, since 2022, Ukrainian government services have either operated entirely from overseas cloud platforms or maintained redundant infrastructure there, allowing for an immediate switchover following an attack on the primary systems.

Plus, Ukraine relies more on small servers than the enormous ones Russia's Yandex has constructed. And:

In its pursuit of a "sovereign internet," the government has effectively blocked Russian companies from using infrastructure even in friendly nations, while "unfriendly" countries have blocked access via sanctions anyway. Due to restrictions imposed by Federal Laws No. 152-FZ and No. 187-FZ, it is virtually impossible to replicate Russian IT infrastructure in places like Belarus or Kazakhstan — though, in any case, the necessary capacity simply isn't there.

So this little datacenter war is likely to hurt Russians much more than Ukrainians, and Russians with any knowledge of the issue already understand this. Which makes one wonder once again about the quality of decision-making in the Kremlin.

A Visit to Glenstone

Andy Goldsworthy, Holes

Glenstone is a private art museum in Potomac, Maryland, within the DC suburbs. It still belongs to, and is controlled by, its founders, Emily Wei Rales and Mitch Rales. It opened in 2006 so is currently celebrating its 20th anniversary. The collection focuses on post-World War II art, and the Rales like to get to know living artists and collect their stuff or commission special works from them. So you know you're in for a weird ride.

I went there yesterday with two of my children and a friend. The main word that comes to my mind is "interesting": there were things I found strange and offputting, but on the whole it was a good experience and I am glad I went. I find that the key to enjoying modern art is to go in the right frame of mind, equally open to being awed, amused, or annoyed, and quick to put the last piece out of your mind so as to approach the next in the same open state.

The place is large and seeing everything involved walking around a lot. Much of the terrain is a native wildflower meadow, which I suppose is lovely at some times of the year, less so on a gray day in October. (Online photo above, and all the others that show sunshine.)

Various sculptures dot the grounds, including three little houses by Andy Goldsworthy and this rocking horse head by Jeff Koons, made of flowers growing on a frame.

There are multiple large sculptures by Richard Serra; my daughter liked this one, Four Rounds: Equal Weight, Unequal Measure, 2017,

But I was somewhat puzzled.

I enjoyed this Richard Serra sprial. 

This (Tony Smith, Smug) is one of those sculptures that mainly frustrates because you can't climb on it.

There are two interior spaces. The first one you come to is called The Pavilions. The massive rectangles, made of concrete block, rise from the rolling meadows in an interesting way, making a stark and completely intentional contrast. In the center is this lovely pool. 

Shown here on a better day.

As modern art museums go, I liked the space. (The architect was Thomas Phifer). But the art here is mostly by living artists and mostly political – environmental, anti-racist, pro-immigrant, pro-abortion – and I had the same "meh" reaction I have to post overtly political art. These are room-sized installations, so you can walk a long way and see only a few works, only one of which really grabbed me.

The gems of the collection are in another building called The Gallery. Here you get the famous masters of twentieth-century American art: Clyfford Still (above), Jasper Johns, Andy Warhol, Agnes Martin,

Jackson Pollock, 

Gordon Parks,

And so on and so on. I loved a lot of this. I think my favorite work was this, When Frustration Threatens Desire by Kerry James Marshall. Perusing their web site I see they own a lot of work that isn't on display, and if you ask me that should clear some of the contemporary political stuff out of the Pavilions and show more of it.

On the whole it was a really good day, sometimes frustrating but generally thought-provoking, and sometimes mind-expanding, just what modern art should be.

Early Fall

Links 9 October 2026

Head of a goddess from Ptolemaic Egypt

A wikipedia gem: "John Murray Spear (1804 – 1887) was an American spiritualist minister who was most known for his attempts to construct an electrically powered Messiah which he referred to as the New Motive Power." 

A Facebook reel with a cool visualization of water flow through the Niagra River.

Twitter thread on how hard it has proved for both Russia and Ukraine to actually destroy major bridges.

Last May a document appeared that was said to be a leaked slide deck prepared by a Kremlin insider about how to spin the inevitably disappointing end of the Ukraine War. (The Spectator; Extracts and Translations)

Noah Smith: maybe the Great Filter is smartphones and short-form video.

Why was the elite of Victorian Britain so effective, despite their heavy drinking and strange educational system?

How might we regulate democracy to improve it?

The enduring influence of the film Excalibur.

Old European masking traditions.

Charles Darwin dealt with all problems by throwing himself into work, in particular minutely detailed studies of barnacles and earthworms.

Traditional brickmaking still endures in Britain.

Newly discovered Hittite royal archive.

Summary of the science Nobels for this year.

The modernization of Meiji Japan, 15-minute video from Sarah Paine.

Pages from the Sketchbook of Odilon Redon

Odilon Redon (1840-1916) was a French artist allied to the Symbolist movement; many of his works look like dreams, or nightmares.  I just discovered that the Art Institute of Chicago has one of his sketchbooks, and they have some images online.

I love seeing what artists doodle. Some of these are preparatory sketches for finished works I recognize, but others are just doodles.

Immigration and Science

So Donald Trump is awarding National Medals of Science/Technology to six people, five of whom are immigrants:

Elon Musk: South Africa

Sergey Brin: Russia

Jensen Huang: Taiwan

Lisa Su: Taiwan

Satya Nadella: India

Immigration is the main reason this remains the world's most dynamic nation, and limiting it the worst thing we could do to our future.

Medieval Keys

Modern Social Media

Reported cases of plague in Irkutsk, Russia have produced the predictable response: massive sales of plague doctor masks and an explosion of plague-related memes.

John McWhorter on White Women Passing as Black

In the NY Times:

Rachel Dolezal never surprised me in the slightest. A white woman who masqueraded as Black while leading an N.A.A.C.P. chapter in Washington State about 12 years ago, she was an almost inevitable sign of our times.

So Hannah Gann needn’t surprise us either. Gann is a 34-year-old public-school teacher and activist in Philadelphia who grew up white, Jewish and affluent but for years has falsely claimed to be of Black (Tunisian) and Palestinian descent. She was a prominent advocate of the Palestinian cause, so forceful as to have been accused of antisemitism. Fellow activists outed her last month, and she has acknowledged lying.

Gann is an ideological descendant of Dolezal, who grew up white in Montana in the 1980s and ’90s and started “identifying” as Black some years after completing a master’s degree at Howard University, a historically Black school. Wearing her hair in Black American styles and sporting a spray tan or using bronzer, she claimed to have a Black father. Her parents outed her as white in 2015, but she dug in her heels. She now goes by the name Nkechi Diallo and has said that she is “not white” but “transracial.”

There have been other such cases . . . 

These cases suggest a subtype of modern white identity. For this person, the commitment to contesting the evil of whiteness is all-consuming, an ideological North Star that orients her entire worldview. It is an extreme expression of the outlook that Representative Alexandria Ocasio-Cortez has called “Woke 1,” in which the world is always neatly divided into wicked white oppressors and virtuous nonwhite victims. For a white person with these beliefs, it is a short step to wanting not to be white, to escape the original sin of that privilege.

To be the victim is to be not just innocent but also more interesting. It also can provide a sense of meaning in a modern world that no longer gives ready answers to the question of life’s purpose. “Who am I? What am I for? I’m … Black!” The decision may be eccentric — skin darkening as part of your morning routine? — but it is hardly counterintuitive.

I am also struck by this phenomenon: for a certain sort of American, to be white is to besome combination of "agent of colonialism and oppression" and "just plain boring." Both are horrible to a certain sort of person; hence, these frauds.

These cases also brings me back to one of my favorite questions: if people can change their sex, why can't they change their race? Is it is really absurd to be "transracial"? I mean, the genetic difference between the races is a rounding error compared to the enormous genetic difference between men and women. I have been asking this question for a decade now and nobody has ever given me an answer that is even halfway convincing.

Wooden Plates Painted with Scenes from Aesop's Fables

English, c. 1600. In the Art Institute of Chicago. For an archaeologist it is always a bit disconcerting to contemplate how much of European material culture was made of wood and leather.