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The Nanosecond Scientist

A BolesBlogs.com reader forwarded me a transcript and asked whether any of it holds up. A man is talking about human origins. He says Homo sapiens appeared out of nowhere. He says a missing link sits at the base of our species, and that the link is easy to find: hand any person’s DNA to a scientist who works with CRISPR, ask whether the sample has been edited, and the answer arrives in a nanosecond. Yes. Edited. From there he moves to the identity of the editor, God or a visiting intelligence with advanced technology, and he closes by asking why Britain colonized America. Here is the short answer before the long one. Three of the speaker’s sentences are accurate. One sentence is invented, and that invented sentence carries the entire argument. Everything downstream of it, the aliens, Dr. Moreau, the colony, the closing questions, rests on a laboratory result that has never happened and cannot happen. The combination deserves slow handling, because the arrangement recurs everywhere now, and the arrangement does more damage than the content.

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What the First Photographer Knew

Photography spent its first half-century being mocked. The painters who controlled the academies and the salons looked at the daguerreotypists and saw mechanics. You pressed a button. You waited for the silver to fix. The machine did the work. Real art required a hand, an eye, a soul, a brush moving through hours of decision. The photographers were craftsmen at best, vandals at worst, and certainly not making Art. This was the consensus from Daguerre’s 1839 announcement until the Photo-Secession movement around 1900, when Alfred Stieglitz spent decades arguing the opposite and slowly won. The Museum of Modern Art opened its photography department in 1940. The Metropolitan Museum followed eventually. By 1980 photographs sold at auction for sums that would have stunned the painters who once sneered at them. The mockers were wrong, and they were wrong in a particular way that matters here.

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