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Notre-Dame and the Paradoxes of Historical Preservation

Victors are said to write history. But in California, history is being written by a committee that is at the center of a raging debate over how to tell the story of South Asia as it tries to update textbooks and revise curriculums for Grades 6 and 7.The dispute centers on whether the region that includes modern-day India, Pakistan and Nepal should be referred to as India or as South Asia, to represent the plurality of cultures there — particularly because India was not a nation-state until 1947. It also touches on how the culture of the region is portrayed, including women’s role in society and the vestiges of the caste system.

A Swiss secondary school has caused uproar by allowing two Muslim boys not to shake the hand of women teachers - a common greeting in Swiss schools.The boys had told the school in the small, northern town of Therwil it was against their faith to touch a woman outside their family.Justice Minister Simonetta Sommaruga said shaking hands was part of Swiss culture and daily life.A local teachers' union said the exemption discriminated against women.

Does painting still have the power to stop us in our tracks, let alone save our lives? India’s transport ministry is counting on it.

realness in hip-hop has a slippery definition, related to the everyday sense of the word but not synonymous with it. 

Artists of all kinds feel obliged to establish authenticity. Bob Dylan was a refugee from middle-class Minnesota, but his gnomic responses to interview questions allowed him to brand himself as a rambling countercultural troubadour. Jean-Michel Basquiat’s reputation as a formerly homeless autodidact helped endear him to gallerists who prized edginess. But the problem of authenticity was particularly acute in early hip-hop, which had a dual mandate—fictional in some ways, journalistic in others. “Rap is CNN for black people,” Chuck D is often alleged to have said. What he actually said was, “Rap is black America’s TV station. It gives a whole perspective of what exists and what black life is all about.”

A few years ago it was revealed that Ross had actually been a correctional officer. No one seemed to mind. If a Jew wrote “White Christmas” and a prep-school graduate wrote “Scarface,” why shouldn’t a former cop make the best narco-trafficking anthems of his generation?

WHERE does creativity come from? For centuries, we’ve had a clear answer: the lone genius. The idea of the solitary creator is such a common feature of our cultural landscape (as with Newton and the falling apple) that we easily forget it’s an idea in the first place.But the lone genius is a myth that has outlived its usefulness. Fortunately, a more truthful model is emerging: the creative network, as with the crowd-sourced Wikipedia or the writer’s room at “The Daily Show” or — the real heart of creativity — the intimate exchange of the creative pair, such as John Lennon and Paul McCartney and myriad other examples with which we’ve yet to fully reckon.

The pair is the primary creative unit — not just because pairs produce such a staggering amount of work but also because they help us to grasp the concept of dialectical exchange. At its heart, the creative process itself is about a push and pull between two entities, two cultures or traditions, or two people, or even a single person and the voice inside her head.

he poem “Shirt,” by Robert Pinsky, first appeared in the pages of The New Yorker in 1989. In it, the speaker merges descriptions of garment manufacturing with the social and personal histories of the workers who create the items he buys and wears.

It’s not true that Chris Burden, the profoundly satirical Los Angeles artist who died last week, of cancer, at sixty-nine, had himself shot in the arm for the performance work “Shoot,” in 1971. Rather, he was shot by a friend whose claim to be a marksman proved an overstatement. The .22 bullet was supposed to only graze Burden. The shooter missed. So Burden told me, years ago. He shared with others that he had been frightened of having himself crucified on a Volkswagen, for “Trans-Fixed” (1974), but was pleasantly surprised by how painlessly the thin nails passed through his hands. He went to extremes, but he wasn’t nuts. When, nearly naked and holding his hands behind him, he wriggled across fifty feet of broken glass in “Through the Night Softly” (1973), the glass was the crumbled safety kind—not that that made for comfort. He said that he liked how the scattered bits, glittering on the asphalt of a parking lot, in the black-and-white film of the event, resemble a starry sky.

Canada's Truth and Reconciliation Commission has released its findings into more than a century of abuse in Indian Residential Schools. Between the 1880s and 1990s 150,000 aboriginal children were sent to institutions where they were stripped of their language and culture. Many faced emotional, physical and sexual abuse.