• Amy Coney Barrett’s Silence Is an Expression of Extremism | The New Yorker (October 18, 2020)
    https://www.newyorker.com/magazine/2020/10/26/amy-coney-barretts-silence-is-an-expression-of-extremism

    On the second day of Amy Coney Barrett’s Senate Judiciary Committee hearings for a seat on the Supreme Court, she and Cory Booker had an exchange that indicated that both the Court and the country are nearing a precarious point. Did she believe, Booker asked, that “every Pres­ident should make a commitment, un­equivocally and resolutely, to the peace­ful transfer of power?” Barrett raised her eyebrows, and chose her words carefully. “Well, Senator, that seems to me to be pulling me in a little bit into this question of whether the President has said that he would not peacefully leave office,” she said. “And so, to the extent that this is a political controversy right now, as a judge, I want to stay out of it and I don’t want to express a view.”

    A President should absolutely make such a commitment; it’s in the job description. Yet, even when Booker reminded Barrett, who has described herself as an originalist and a textualist, of the importance of the peaceful transition of power to the Founders, the most she would allow was that America had been lucky that “disappointed voters” had always accepted election results. To say that a disappointed President might have an obligation to do so was apparently too far for her to go. What Barrett did offer was a study in the extent to which not giving an answer can be an expression of extremism. Her demurrals were more, even, than those of Justices Neil Gorsuch and Brett Kavanaugh, in their hearings, a measure of how thoroughly President Trump has moved the margins of our political culture.

    It’s no surprise that the hearings would be characterized by some level of evasiveness: no nominee, particularly these days, wants to say something that will rally the opposition. Barrett, as a member of Notre Dame’s University Faculty for Life, had signed an ad that called Roe v. Wade, the 1973 Supreme Court decision affirming a woman’s reproductive rights, “infamous.” But, in the hearings, she asserted that she really couldn’t say what her position on Roe might be—the decision was controversial, and a case that threatened to overturn it might someday come before her. She attributed the principle that nominees should not comment on potential cases to Ruth Bader Ginsburg. But that principle doesn’t mean that the confirmation process should be a charade of non-answers; Ginsburg, in her own hearings, in 1993, acknowledged that she was pro-choice.

    Barrett’s hearings weren’t just the latest reminder that the tiresome confirmation process is due for an overhaul; there were two novel, and alarming, aspects of the evasions in her testimony. The first was how many established principles she considers to be still open to debate. When Kamala Harris pressed her on the reality of climate change, and its consequences, Barrett protested that the Senator was “eliciting an opinion from me that is on a very contentious matter of public debate,” adding, “and I will not do that.” More startling, Barrett seemed to suggest that core elements of our electoral democracy are up for grabs. Dianne Feinstein asked her if the Constitution gives the President the power “to unilaterally delay a general election.” The answer is no, but Barrett replied that she didn’t want to give “off-the-cuff answers”—that would make her a “legal pundit.”

    The scenarios that Barrett declined to address were not wild hypotheticals that the Democrats had dreamed up in an attempt to trick her. Donald Trump has repeatedly refused to commit to a peaceful transfer of power if he loses. He has also mooted delaying the election, or maybe excluding ballot tallies he doesn’t trust, and said that he wants this Court seat filled quickly, so that his appointee can be on the panel deciding any election disputes. What he’s proposing is a clear attack on American democracy and the rule of law. Barrett, though, spoke as though the fact that the President tweets about something means that it is within the realm of reasonable constitutional inter­pretation. What she conveyed throughout was not so much conscientiousness as a combination of deference to, alignment with, and, perhaps, fear of Trump.

    And that was the second warning that emerged from the hearings: none of the Republican senators in the room seemed shocked at what the President deems possible, or interested in hearing what the Court’s role might be in countering any President who abuses his power. Instead, they echoed Trump’s intimations of fraudulent voting, me­dia lies, and left-wing plots. Ted Cruz claimed that many Democrats had made a decision “to abandon democracy.” Thom Tillis said it was understandable that gun sales had increased in recent months, because Democrats, “including people on this committee,” had made Americans fear for their safety. Josh Hawley appeared to think that the real problem was Hunter Biden. It can be hard to tell whether the Republicans are extremists or opportunists, or have just retreated into passivity.

    In one of the most notable exchanges in the hearings, the Vermont Democrat Patrick Leahy tried, unsuccessfully, to get a straight answer from Barrett on whether a President could refuse to comply with a Supreme Court order, and whether such a refusal would be “a threat to our constitutional system of checks and balances.” A President defying the Supreme Court is the definition of a constitutional crisis, but Barrett would say only that the Court “can’t control” a renegade President. The Constitution, though, offers a clear course of action in such an event: impeachment. It seemed odd that Barrett, who spent much of her time commending committee members for their power as legislators—saying, repeatedly, “That’s your job”—didn’t emphasize that point.

    Textualists often adopt a posture of “restraint” that masks their tendency to be true activists, which is what Barrett was when, in a dissent last year, she called Wisconsin laws limiting gun purchases by felons unconstitutional. Similarly, in suggesting that Justices, when faced with a President who rejects election results—or their authority—would just dither or shrug, she was making a radical statement, not a restrained one. Perhaps Barrett believes that such a crisis will never come to pass, and honestly doesn’t know what she would do if one did. In which case it might be prudent for her to begin thinking about how she would respond. The full Senate is on track to vote on her nomination as soon as October 26th. Eight days later, Donald Trump will be watching the election results come in, and he may not like what he sees.

  • The Elusive Peril of Space Junk | The New Yorker
    https://www.newyorker.com/magazine/2020/09/28/the-elusive-peril-of-space-junk

    In the fourteen billion years between the big bang and the autumn of 1957, space was pristine. Then came Objects No. 1 and 2 in the NORAD catalogue: Sputnik 1—a polished orb of aluminum alloy with four long prongs—and the rocket that the Soviet Union had used to launch it, ushering in the space age. Sputnik circled the planet in an elliptical orbit, but at an altitude so low that atmospheric drag brought it down within three months. The following year, NASA launched Object No. 4, Vanguard 1, farther out into space, but then lost contact with it. Adrift since 1964, it still circles the planet. At the apex of the Cold War, Sputnik and Vanguard were triumphant emblems of a bold future. Today, they are emblems of junk.

    Since 1957, humanity has placed nearly ten thousand satellites into the sky. All but twenty-seven hundred are now defunct or destroyed. Collectively, they cost billions of dollars, but they were launched with the understanding that they were cheaper to abandon than to sustain. Some, like Sputnik, have burned up. Thousands, like Vanguard, will stay in orbit for decades or centuries, careering around the planet as ballistic garbage: a hazard to astronauts and unmanned spacecraft alike.

    These satellites are joined by thousands of spent rocket bodies and countless smaller items—space flotsam created by wear or collision or explosions: things like bolts and other bits of metal. There are odder specimens, too. Object No. 43205 is a functional Tesla Roadster (with a mannequin driver) that Elon Musk launched in 2018. A company called Celestis fires capsules loaded with human remains into orbit, where they will stay for nearly two and a half centuries. (The ashes of Gene Roddenberry, the creator of “Star Trek,” were sent aloft in Object No. 24779.) For years, Space Shuttles emptied their septic systems during missions: astronaut urine, instantly transformed into glimmering snowflake clouds, is reputed to be among the more beautiful visions in space. In 2007, a shuttle jettisoned a fourteen-thousand-pound tank of ammonia. (It later burned up over the South Pacific.) Astronauts, too, have accidentally let objects fall into orbit during space walks: a camera, a spatula, a glove, a mirror, a bag filled with a hundred thousand dollars’ worth of tools.

    Small or large, personal or industrial—retrieving anything from space is immensely difficult, and has been done on just a handful of occasions. The military tracks about twenty-six thousand artifacts orbiting Earth, but its catalogue recognizes only objects larger than ten centimetres; the total number is much greater. By one estimate, there are a hundred million bits of debris that are a millimetre in size, a hundred trillion as small as a micron. We live in a corona of trash.

    #Espace #Débris_spatiaux #Pollution #Communs

  • America’s Abandonment of Syria - The New-Yorker
    Many Syrians thought that the U.S. cared about them. Now they know better.

    Since October, even the visits have stopped. Reached by phone recently, Ali said that he is deeply worried about the possibility of a COVID-19 outbreak in Raqqa. “We can take care of one or two patients, at most,” he explained. The hospital has two ventilators—eight were lost to air strikes.

    #Covid19#Syrie#USA#Guerre#Déplacés_internes#Santé#Camp#migrant#réfugiés#migration

    https://www.newyorker.com/magazine/2020/04/27/americas-abandonment-of-syria

  • How Anthony Fauci Became America’s Doctor | The New Yorker
    https://www.newyorker.com/magazine/2020/04/20/how-anthony-fauci-became-americas-doctor

    Ah le plaisir de lire des bio-hagiographies ;-)

    Anthony Fauci certainly did not. At seventy-nine, Fauci has run the National Institute of Allergy and Infectious Diseases for thirty-six years, through six Administrations and a long procession of viral epidemics: H.I.V., SARS, avian influenza, swine flu, Zika, and Ebola among them. As a member of the Administration’s coronavirus task force, Fauci seemed to believe that the government’s actions could be directed, even if the President’s pronouncements could not. At White House briefings, it has regularly fallen to Fauci to gently amend Trump’s absurdities, half-truths, and outright lies. No, there is no evidence that the malaria drug hydroxychloroquine will provide a “miracle” treatment to stave off the infection. No, there won’t be a vaccine for at least a year. When the President insisted for many weeks on denying the government’s inability to deliver test kits for the virus, Fauci, testifying before Congress, put the matter bluntly. “That’s a failing,” he said. “Let’s admit it.”

    When Trump was not dismissing the severity of the crisis, he was blaming others for it: the Chinese, the Europeans, and, as always, Barack Obama. He blamed governors who were desperate for federal help and had been reduced to fighting one another for lifesaving ventilators. In one briefing, Governor Andrew Cuomo, of New York, said, “It’s like being on eBay with fifty other states, bidding on a ventilator.” Trump even accused hospital workers in New York City of pilfering surgical masks and other vital protective equipment that they needed to stay alive. “Are they going out the back door?” Trump wondered aloud.

    As a reporter who writes mainly on science and public-health issues, I’ve known Fauci since the H.I.V./AIDS epidemic exploded, in the mid-eighties. He once explained to me that he has developed a method for dealing with political leaders in times of crisis: “I go to my favorite book of philosophy, ‘The Godfather,’ and say, ‘It’s nothing personal, it’s strictly business.’ ” He continued, “You just have a job to do. Even when somebody’s acting ridiculous, you can’t chide them for it. You’ve got to deal with them. Because if you don’t deal with them, then you’re out of the picture.”

    Since his days of advising Ronald Reagan and George H. W. Bush, Fauci has maintained a simple credo: “You stay completely apolitical and non-ideological, and you stick to what it is that you do. I’m a scientist and I’m a physician. And that’s it.” He learned the value of candor early. “Some wise person who used to be in the White House, in the Nixon Administration, told me a very interesting dictum to live by,” he told me in 2016, during a public conversation we had at the fifty-year reunion of his medical-school class. “He said, ‘When you go into the White House, you should be prepared that that is the last time you will ever go in. Because if you go in saying, I’m going to tell somebody something they want to hear, then you’ve shot yourself in the foot.’ Now everybody knows I’m going to tell them exactly what’s the truth.”

    #Epidémiologie #Préparation #Anthony_Fauci

  • The MacGyvers Taking on the Ventilator Shortage | The New Yorker
    https://www.newyorker.com/magazine/2020/04/06/the-macgyvers-taking-on-the-ventilator-shortage

    But Rosie the Riveter isn’t gone—she’s just working from home. The other day, Bruce Fenton, of Portsmouth, New Hampshire, posted a call for volunteers on the Web site Medium. He was leading something called the Ventilator Project—a crowdsourced effort to address the shortage. The project’s two goals, Fenton wrote, were to help existing ventilator manufacturers ramp up production, and to design an open-source plan for a cheap and simple emergency ventilator that hospitals can use. As inspiration, he reminded everyone that the Apollo 13 astronauts created a carbon-dioxide scrubber from spare parts.

    The Ventilator Project’s three hundred and fifty volunteers do most of their brainstorming on the chat app Slack. A few proposals: repurposing CPAP machines (sleep-apnea masks) as ventilators, rigging single ventilators to treat multiple patients, and using grounded airplanes as treatment facilities, in order to take advantage of the overhead oxygen masks. Many participants are medical professionals, such as Stuart Solomon, a Stanford anesthesiologist who is mobilizing equipment that functions similarly to ventilators (like anesthesia machines). Fenton has also recruited lawyers, in the hope that, should a solid design emerge from the project, mass production of these ventilators—and their use in hospitals—won’t be stalled by regulators such as the F.D.A. And he has called on “engineers, builders, and MacGyver types who can build a legit ventilator” out of “Home Depot type parts.”

    #Crowdsourcing #Respirateurs

  • How Does the Coronavirus Behave Inside a Patient? | The New Yorker
    https://www.newyorker.com/magazine/2020/04/06/how-does-the-coronavirus-behave-inside-a-patient

    The temple was two hundred and fifty years old, the attendant informed me. That would date it to around the time when accounts first appeared of a mysterious sect of Brahmans wandering up and down the Gangetic plain to popularize the practice of tika, an early effort at #inoculation. This involved taking matter from a smallpox patient’s pustule—a snake pit of live virus—and applying it to the pricked skin of an uninfected person, then covering the spot with a linen rag.

    The Indian practitioners of tika had likely learned it from Arabic physicians, who had learned it from the Chinese. As early as 1100, medical healers in China had realized that those who survived smallpox did not catch the illness again (survivors of the disease were enlisted to take care of new victims), and inferred that the exposure of the body to an illness protected it from future instances of that illness.

    #immunisation

  • The TikTok-Ready Sounds of Beach Bunny | The New Yorker
    https://www.newyorker.com/magazine/2020/03/02/the-tiktok-ready-sounds-of-beach-bunny

    On the video-sharing platform TikTok, there are nearly seventy-four million posts hashtagged #promqueen. Hundreds of thousands of these are set to a track of the same name, from 2018, by a young indie-rock band from Chicago called Beach Bunny. TikTok, which encourages users to post short, surrealist interpretations of memes and dance moves, has become an incubator of musical talent, or at least of persona and digital acumen. Earlier this year, it helped send the rapper Roddy Ricch’s song “The Box”—which features a curious squeaking sound, perfect for TikTok—to the top of the Billboard charts. But, unlike the idiosyncratic hip-hop that typically takes hold on the platform, “Prom Queen” is a doleful ballad. The song dramatizes teen-age self-doubt and has the inverse effect of a pep talk. “Shut up, count your calories,” Beach Bunny’s front woman, a twenty-three-year-old recent college graduate named Lili Trifilio, sings in a disaffected tone. “I never looked good in mom jeans.” TikTok users, most of whom are in their teens or early twenties, have used the song as a backdrop for videos both literal and abstract. In one, a young woman presents an array of prom dresses, prompting her followers to help her decide which to buy. In another, someone splices together short clips of the food she’s eaten that day—quite literally counting her calories. One user attempts to follow a Bob Ross painting tutorial; another tries to cover up his face tattoos with makeup, sporting a sly grin.

    Of all the confessional, female-fronted indie-rock bands to flourish in the past decade, Beach Bunny is perhaps the most shrewdly tailored to the whims of the social Internet, where everything, especially the misery and humiliation of youth, is molded into a bite-size piece of comic relief. On “Painkiller,” a song from Beach Bunny’s 2018 EP, also called “Prom Queen,” Trifilio name-checks pharmaceuticals that might make her feel better: “I need paracetamol, tramadol, ketamine. . . . Fill me up with Tylenol, tramadol, ketamine.” It sounds like it could be from the soundtrack of “Euphoria,” HBO’s breakout show about teen-age dereliction. Trifilio is a potent lyricist who tends toward despondency, but her songs are deceptively snackable—each is a two-minute burst of honey-butter melody, often with a title that incorporates hashtag-worthy slang.

    Acts of earlier eras could more easily be traced to their predecessors, often by the artists’ own admission, but Beach Bunny comes from a generation for which stylistic influence is absorbed through lifelong exposure to a mass jumble of online reference points. Trifilio got her start in music by performing acoustic-guitar covers and uploading them to YouTube, as so many of her peers did before TikTok began pulling aspiring talents into its slipstream.

    TikTok is a new platform, but its catchy, looping clips make use of an old music-industry trick. Psychologists and music-theory scholars have long studied the brain’s response to repeated exposure to music. As early as 1903, Max Friedrich Meyer, a professor of psychoacoustics, showed that a piece of music’s “aesthetic effect” for participants in a study was “improved by hearing the music repeatedly.” In 1968, the social psychologist Robert Zajonc coined the term “mere-exposure effect” to describe this phenomenon. According to Zajonc’s findings, appreciation of a song increased the more the subjects heard it, no matter how complex the music was or how it aligned with their personal tastes. This insight is the driving force behind the marketing of popular music in the modern era: FM radio stations and popular streaming playlists are most successful when they program a small pool of songs, inducing the mere-exposure effect as quickly as possible.

    On TikTok, the length of a video is restricted to sixty seconds, but most clock in at less than half a minute. The app allows a seamless scroll through videos, demanding rapid-fire consumption. It also groups together clips that contain the same song, encouraging you to listen over and over again. The app’s success at making hits is partly due to its ability to accelerate the mere-exposure effect, making songs familiar at warp speeds. Without TikTok, it’s unlikely that a song like “Prom Queen” could have reached the velocity it did. The official video for the song now has more than seven million views on YouTube.

    With increased exposure comes increased scrutiny, and the micro-virality of “Prom Queen” caused some listeners—maybe ones who caught only a snippet of the track—to question its message. In one verse, Trifilio sings, “I’ve been starving myself / Carving skin until my bones are showing.” Last summer, Trifilio pinned a lengthy comment underneath the song’s YouTube video. “Since this video is blowing up I feel the need to address something,” she wrote. “The lyrics are a criticism on modern beauty standards and the harmful effects beauty standards can have on people. . . . You are already a Prom Queen, you are already enough.” The message was about two hundred words—a longer piece of writing than any Beach Bunny song.

    #Tik-Tok #Musique #Culture_numérique

  • Big Tech Is Testing You | The New Yorker
    https://www.newyorker.com/magazine/2020/03/02/big-tech-is-testing-you

    Large-scale social experiments are now ubiquitous, and conducted without public scrutiny. Has this new era of experimentation remembered the lessons of the old ? Dr. John Haygarth knew that there was something suspicious about Perkins’s Metallic Tractors. He’d heard all the theories about the newly patented medical device—about the way flesh reacted to metal, about noxious electrical fluids being expelled from the body. He’d heard that people plagued by rheumatism, pleurisy, and toothache swore (...)

    #sport #santé #publicité #nourriture #émotions #consommation #comportement #manipulation #éthique #algorithme #GoogleSearch #Facebook #eBay #Amazon (...)

    ##santé ##publicité ##Google

  • The Ultra-Wealthy Who Argue That They Should Be Paying Higher Taxes | Sheelah Kolhatkar, The New Yorker, 30 décembre 2019
    https://www.newyorker.com/magazine/2020/01/06/the-ultra-wealthy-who-argue-that-they-should-be-paying-higher-taxes

    In an age of historic disparity, Abigail Disney and the Patriotic Millionaires take on income inequality.

    #lol (a priori)

    Abigail en défenseuse véhémente de la tradition #Disney également citée dans le 5e épisode de cette série d’émissions super. https://www.franceculture.fr/emissions/walt-disney-grandes-traversees