At Home in the Center of Tomorrow’s World

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Alhambra

Alhambra

Granda, Spain — The prodigal child has come home to roost. I am in the Albayzín section of Granada. This once autonomous,Andalusian Muslim community, which has retained the narrow streets of its Medieval Moorish past, I’d argue, is ground zero for tomorrow’s world.

It’s all here- the sights, sounds, smells; Syrians, Moroccan, Lebanese, Lybians; the restaurants, Halal food, leather stores up steep walkways; the incense; wild colorful ingredients, spices and herbs. Arabic pushing up against Spanish and other European languages. The mosque and the church, Jewish history. Young women offer henna, which comes from the Arabic, ḥinnāʾ, for 1 Euro; men smoking their cigarettes stand in front of their shops. There are tea and hookah lounges. There’s flamenco, too, where it originates (as well as in Extremadura and Murcia) — a doleful synthesis of Romani, Arabic, and Spanish cultures that eventually find their way to the New World and metamorphose into el tango.

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“Technological Idiots”: The Deep, Blinding Effects of Our Dazzling Technology

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Evocation 1:

It’s night in a foreign land. It’s hot, humid. I kick open a door of a nondescript apartment, splintering it to pieces, and lunge at three men sitting at a rickety table in a dingy room, revolvers, grenades, and detonators are strewn on its surface.

I punch one burly man hard in the face as he stands, unsure of himself. I can sense that — the weakest link. He falls back. He’s to my right. To my left, a mountain of a man, knife in hand, comes at me. I step aside, lock his elbow against my ribs with my left arm; with my right I come over the top of his humerus and snap it. He falls to his knees, doubled over in pain.

The third man leaps to his feet, turning over the table, pushing it against me. I grab a revolver from the floor and quickly shoot him in the leg before he can leap out an open window.

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Welcome to the Age of Knowledge: How Propaganda Has Moved Us From the Information Age, Into New Challenges & (Potentially?) a Renaissance

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The Big Short

The Big Short

It’s instructive to begin with Barry Blitt’s March 28, 2016, New Yorker cover, “The Big Short,” because it conflates three central ideas critical to our discussion: Donald Trump’s deep anxiety about the size of his fingers — and something else, our age’s latest, desperate attempt to try and determine our future by hyperbolic palm reading — disconcerted flailing as we transition into the challengingAge of Knowledge — and the latest, eye-opening film directed by Adam McKay, The Big Short, based on the book by the same name written by Michael Lewisabout the financial crisis of 2007–2008, which was triggered by the build-up of the housing market and the economic bubble.

No one has said this, so let me be the first: Donald Trump is a manifestation of an age that has run its course. There you have it.

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