Does art progress? Theodore Dalrymple has his doubts: 

One often hears of ‘cutting-edge’ art; indeed, the much older term, avant garde, is of the same ilk. This suggests that there is progress in the arts, as there is in science, and that what comes after must, in some sense, be better than what came before. Art has some kind of destination, with later artists further along the road to it than earlier.

In science, progress is a fact (except for the most extreme of epistemological sceptics, none of whom, nevertheless, would be entirely indifferent as to whether their surgeon used the surgical techniques of, say, the 1830s, rather than those of this century). The most mediocre bacteriologist alive today knows incomparably more that did Louis Pasteur or Robert Koch, for example; the most mediocre physics graduate knows incomparably more than Sir Isaac Newton ever did. This is because scientific knowledge is cumulative. But no one would suggest that the paintings of Rothko were better than those, say, of Chardin because he lived a long time after Chardin, and that Chardin’s were better than those of Velasquez for the same reason.

Art teachers and critics use the false analogy with science in order to deny the importance of tradition in artistic production. They do not realise that science is entirely dependent on tradition for its progress. It is not just that most competent scientists know a lot about the history of their subject, but that the very problems that they set about solving, their entire mental worlds, are inherited by them. No scientist has to discover everything anew for himself: no mind, however great, is expected to begin again from zero. Tradition is the precondition of progress, not its antithesis or enemy.

The comparison of art with science isn’t entirely convincing. One could argue, at least notionally, that the destination of science – its conclusion, as it were – would be a complete explanation of the entire physical universe, including the people in it who happen to ponder such things. It’s a pretty fanciful idea, perhaps, but a comprehensible one. But what would an analogous artistic destination be – a work of such staggering beauty that those who see it burst into tears and die contentedly?

Assorted entries from the Harbin Snow Sculpture Art Fair, China. 

More. Related: Gianni Schiumarini’s sand sculptures. (h/t, Coudal) 

Some people have strange priorities. There are those, for instance, who say:

There is something inherently paternalistic in rescuing someone. There’s no avoiding this. And this is especially pernicious in the context where someone has been methodically and institutionally disempowered – ‘saving’ them, though well-intentioned, may change many circumstances but it unfortunately continues the pattern of disempowerment.

Given the discussion from which the above is taken concerns the Taliban’s threats to murder girls who go to school, fretting about the “inherent paternalism” of rescue seems a tad… self-indulgent.

The commenter goes on to say,

I happen to care a great deal about the oppression of women, in Afghanistan and everywhere else in the world.

However,

It is not our job, as westerners – as outsiders – to specifically fight to improve the lot of Afghan women.

Well, one might argue against military intervention on an economic or tactical basis, or on grounds of pragmatism and self-interest. One might, for instance, argue that not every injustice can be engaged and it’s best to choose one’s battles. The ability to intervene is finite and conditional, and there are almost always other demands on whatever resources are available. But that isn’t the argument here. Instead, we have something much more elevated:

Ultimately, an oppressed group must empower themselves. But it is our job, and everyone’s job, to fight injustice and to oppose those barriers which prevent Afghan women from empowering themselves. We can fight sexism in Afghanistan without placing ourselves into a paternalistic position – but only if we are aware of the distinction I am discussing.

Ah, yes. The “paternalistic position” must be avoided at all costs.

Title sequences of note. // Vanishing Ganymede. // “An explosion in the 32ft-wide reaction chamber which will produce at least 10 times the amount of energy used to create it.” // “Liposuction doctor used fat from patients to power his car.” // Audi pedal car. // Concept bus. // Add bacon to any website. // A year in 40 seconds. // Live surveillance screensaver. // Microscopy gallery. // X-rayed MacBook. // Underwhelming computer ads. // Libraries with allure. (h/t, Stephen Hicks) // Princess Leia lookalikes. And how to make your very own slave girl bikini. (h/t, TDK) // Arctic Survival. Just in case. // How many 5-year-olds could you take in a fight? // Reefer Madness. (1938) // And, via The Thin Man, it’s The Flying Lizards.