This is as good a time as any to point out that Bush painted his portraits, not just from photographs—a common enough practice as well as a long-established conceptual strategy, though I think only the former pertains here—but from the top search result on Google Images. Many photos were taken from the subject’s Wikipedia entry. Bush based his paintings on the literally first-to-surface, easiest-to-find photos of his subjects. Is this meaningful in any way? If he had one, it would mean Bush’s studio assistant is very, very lazy. But in all his discussion of it, Bush’s painting practice appears to be a solitary one. He apparently did not tap the enormous archive of photos, taken by the professionals who followed him every day for eight years, which are contained in his giant library. Instead, it seems, he Googled the world leaders he made such impactful relationships with himself, and took the first straight-on headshot he saw. […] The point is, once again, art matters. Art has surfaced in the most dire circumstances, at a crucial moment in our society’s history, produced by someone whose actions and moral standing confound our engagement with it. And culturally speaking, we don’t care; we’d rather see Bush’s folksy pictures from the internet. Every news story about Bush’s paintings represents ten reports not filed about Bush’s torture. In the art world, meanwhile, we’d rather not see it at all. Better to condemn and dismiss it quickly. Snark and move on. Stoke the indignance that keeps us and our practices unsullied. Ward off any engagement with cowering incantations of connoisseurship and facture. This is how art appears in our society today. Art works, as they say, and this is what it does: it absolves and redeems and defuses and deflects. Ultimately, George Bush’s paintings are important less for what they show, than for what they obscure. And the art world’s critical structures seem unable or unwilling to meet the challenge posed by the art of the torture & terrorism school.
Los Angeles, CA 2014
Gaucho light test. Argentina, 2014
A wrecked Zeppelin sits ashore in Mison, France, 1918.Photograph by Paul Thompson, National Geographic
Nanotechnology just got a little bit smarter.
At the Institute of Nanotechnology and Advanced Materials at Israel’s Bar-Ilan University, Ido Bachelet led a team of scientists in building tiny robots that can respond to chemical cues and operate inside a living animal. More than that, they can operate as logic gates, essentially acting as real computers.
That gives the nanobots — on the order of nanometers, or one-billionth of a meter — the ability to follow specific instructions, making them programmable. Such tiny robots could do everything from target tumors to repair tissue damage.
The experimenters used a technique called “DNA origami” to make the robots. DNA comes in a double-helix shape, making long strings. And like yarn, the strings can be linked together to make different shapes. In this case, the researchers knitted together DNA into a kind of folded box with a lid, a robot called an “E” for “effector.” The “lid” opened when certain molecules bumped into it.