Monday, April 13, 2026

Wonder Cabinet: Science/Humanities/Philosophy/Religion (Azimuths)

Wonder Cabinet homepage ["Intimate conversations about the mysteries of the cosmos and life on a sentient planet with writers, philosophers and scientists who are dazzled by it all."]

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Chungyalpa, Dekila. "On the Sacred Feminine and the Living Earth." Wonder Cabinet (April 11, 2026) ["Imagine growing up believing that at the heart of existence is a Primordial Mother—and that She is the Earth. For Dekila Chungyalpa, that idea is not metaphor. It’s inheritance. In Tibetan Buddhism, the feminine divine appears as Prajnaparamita, or Yum Chenmo—the “Mother of All Buddhas.” As the daughter and granddaughter of nuns, Dekila was raised in a world where spiritual teaching and healing was often female, and where land itself—especially the sacred Himalayan landscape of Sikkim—was alive with presence, meaning, and obligation. Today, she is a global conservationist and founding director of the Loka Initiative, building unlikely partnerships between climate scientists and religious leaders across traditions—from Buddhist monastics to Catholic clergy, Indigenous elders to Muslim clerics and Evangelical pastors. Her work suggests that the climate crisis is not only scientific or political—but spiritual."]

Haskell, David George. "Flowers and the Revolutionary Power of Beauty." Wonder Cabinet (March 28, 2026) ["What can flowers teach us about survival? Celebrated biologist and writer David George Haskell reframes flowers as agents of transformation—creatures that turned conflict into collaboration and remade the living world. For thousands of years, flowers have threaded themselves through human life—into our rituals, our art, our language, even our names. We decorate our homes and altars with them, distill their scents, celebrate them in poetry and song. But what if we’ve misunderstood them entirely? In How Flowers Made the World, biologist and writer David George Haskell invites us to see flowers not as delicate embellishments, but as one of the most powerful forces in Earth’s history. When flowering plants emerged more than 200 million years ago, they didn’t just adapt to the world—they transformed it. Through strategies of beauty, attraction, and reciprocity, they turned rivals into partners, reshaping ecosystems and making possible the rich diversity of life we know today. In a lyrical, science-rich conversation, we explore:
— Why Haskell calls flowers “nature’s revolutionaries”
— How beauty, pleasure, and desire function as evolutionary strategies
— The deep interdependence between flowers, animals, and humans
— What flowers can teach us about resilience in a time of ecological crisis
— How re-centering flowers might change the story we tell about life on Earth.
We live on a floral planet, Haskell says—and more than that, we are a floral species, utterly dependent on flowering plants for food, habitat, and survival. The lessons flowers offer—about creativity, cooperation, and transformation—may be exactly what we need to navigate a rapidly changing world. What would it mean to tell the story of life not through predators and conquest, but through seduction, partnership and bloom?"] 

Rovelli, Carlo. "Cosmic Mysteries and the Politic of Wonder." Wonder Cabinet (February 7, 2026) ["Carlo Rovelli’s quest to understand the nature of reality began not in a physics lab, but in youthful experiments with consciousness, political protest and a restless hunger for meaning—years before he “fell madly in love with physics.” Today, Rovelli is famous for his bestselling books, including "Seven Brief Lessons on Physics" and "Reality Is Not What It Seems," and his pioneering work on some of the biggest mysteries in physics, including black holes and quantum gravity. In a wide-ranging conversation, Steve Paulson talks with Rovelli about his early, profound experiences with LSD; his discovery of the "spectacular" beauty of general relativity and quantum mechanics; his lifelong search for purpose in both the cosmos and his own life; and why scientists need to be politically engaged. Carlo also tells us about the big idea that he’d put in our own wonder cabinet. This interview was recorded at the Island of Knowledge think tank in Tuscany, a project supported by Dartmouth College and the John Templeton Foundation. We also play a short excerpt from Anne Strainchamps’ earlier interview with Rovelli that originally aired on Wisconsin Public Radio’s To The Best Of Our Knowledge."]

Singh, Manvir. "Was Shamanism the First Religion?" Wonder Cabinet (April 4, 2026) ["Shamanism may be humanity’s oldest religion – a tradition found across cultures, where healers slip into unseen realms, speak with spirits, and bring back knowledge from beyond the visible world. But in a modern, scientific age, these practices can seem like little more than superstition. But what if they reveal something deeper in human experience? Anthropologist Manvir Singh set out in search of answers. On a remote island in Indonesia, he lived with the Mentawai people, watching as their shamans — the sikerie — drummed, danced and entered trance, their tattooed bodies painted in turmeric. In these altered states, they appeared to move between worlds. How does an empirically-minded scientist make sense of such experiences? Singh combines immersive fieldwork with cross-cultural research into shamanic traditions, past and present. He calls shamanism a “timeless religion,” one that may go back to our earliest ancestors — and still lives on in the world’s major religions. Along the way, he asks a provocative question: Was Jesus a shaman?"]

Solnit, Rebecca. "Hope After the End." Wonder Cabinet (February 14, 2026) ["How do you deal with the emotional toll of living in a time of dissolution? Social scientists use the term "polycrisis" to describe the kind of cascading, overlapping failures that can lead to systemic collapse, and it’s hard not to see the symptoms of a dying world order in events unfolding around us. But maybe what we’re witnessing is actually grounds for hope. In a forthcoming book "The Beginning Comes After the End," writer and activist Rebecca Solnit makes the case that something is dying, all right — because something better is being born. A rising worldview that embraces antiracism, feminism, environmental thinking, Indigenous and non-Western ideas, and a vision of a more interconnected, compassionate world. Solnit is an engaged writer and intellectual in the tradition of Barbara Ehrenreich, Susan Sontag and George Orwell. Her new book picks up where her earlier bestseller “Hope in the Dark” left off — with an argument against despair and historical amnesia. In this conversation, we explore the extraordinary scale of progressive social, political, scientific and cultural change over the past century, the roots of Solnit’s stance of “pragmatic, embodied hope,” her thoughts on “moral wonder, “ and her years in San Francisco’s underground punk rock scene. She also tells us what she’d put in our own wonder cabinet: an AIDS Memorial Quilt square sewn by Rosa Parks."]

Strand, Sophie. "Ecological Storytelling and Mythic Imagination." Wonder Cabinet (January 31, 2026) ["Writer and ecologist Sophie Strand thinks at a scale that can feel dizzying—in the best way. In a single conversation, she can move from the chemical structure of cells to mushroom spores, from ancient weather gods to mycorrhizal fungi, from Bronze Age collapse to the slow intelligence of soil. In this episode of Wonder Cabinet, we talk with Strand about wonder that doesn’t float upward but roots downward—into bodies, ecosystems, decay, and deep time. We begin with her essay “Your Body Is an Ancestor,” published shortly before Halloween and the Day of the Dead, and follow her imagery into our shared prehistoric past.
The conversation also explores how Strand’s experience of chronic illness reshaped her understanding of nature, selfhood, and health. Rather than seeing the sick body as broken, she turns to ecological metaphors: spider webs, soil structures, caterpillars dissolving inside cocoons. What might it mean to understand ourselves not as machines that fail, but as landscapes that change? Along the way, we talk about fantasy and “romantasy,” Tolkien, Harry Potter, Dramione fan fiction and communal storytelling rituals. This is a conversation about wonder with dirt under its fingernails: embodied, mythic, ecological, and deeply alive to the cycles of death and regeneration that bind us all."]

Que sais-je? - Music Mix #54

Wilco; King Missile; Angine de Poitrine; Stereolab; AC/DC; The Cure; Wendy Eisenberg; Marcus King; Sammy Rae & The Friends; Earthgang; Little Dragon; Sudan Archives; Patrick Wilson; Shiner; Sloan; Sons; The Cords; The Macks; Trestles; Dodie; Bush; Kate Bush; Prewn; Taylor Swift; Smashing Pumpkins; Scorpions; Cream; Wet Leg; Fever Ray; Miles Caton; DC6 Singers Collective; Don Tolliver & Ludwig Goransson; Cedric Burnside; Sharde-Thomas Malloy; Nikki Lane; Oasis; Stone Temple Pilots; Ava Luna; Cal in Red; Cheap Perfume; Rush; Creative Writing; HAERTS; Hammy Down; Caroline Rose; Idlewild; Arthur Buck; Lovejoy; Parent Teacher; Pigeons Playing Ping Pong; Genevieve Artadi; Real Bad Man; TOBi


 Que sais-je? - Music Mix #54 

Sunday, April 5, 2026

Michael D. Benton: Introduction to and Discussion of The Battle of Algiers




Michael D. Benton: Introduction to and Discussion of The Battle of Algiers
(Originally published in Uprooting Criminology: April 14, 2014)

In 1966 Gillo Pontecorvo’s film The Battle of Algiers was released to critical acclaim as well as official condemnation. In France it was banned until 1974 when it was finally screened in a cut version. The film examines the early part of what is known as the Algerian War (1954-1962) when the colonized Algerian population threw off the century-long yoke of the French colonizers (they invaded Algeria in 1830). Pontecorvo’s film is unique in many ways:

1) Its focus is on the early intensification of the Algerian resistance when they began to focus on guerilla warfare in the city of Algiers as the most effective tactic against the French colonizers.

2) It also effectively portrays the French Legion’s military response. Torture as a method of information-gathering and intimidation, as well as, the concerted hunting down of resistance fighters.

3) The film uses mostly non-professional actors who had actually been a part of the Algerian resistance against the French.

4) The film is naturalistic in its portrayal of the operations of revolutionary cells and their guerrilla tactics.

5) The film provides powerful images of the colonizing forces usage of media to communicate their messages. Perhaps, not as obvious, is the resistance resort to “terror” as their only possible tactic to communicate their message.

6) It ends with the seemingly victorious moment for the colonizers when the French Legion has won the Battle of Algiers and decimated the guerrilla cells. However, as the last scene vividly demonstrates, they may have won the battle, but the French in their victory had poured gasoline onto the flame of resistance that would lead to their eventual defeat in the larger war.

The film is considered to be so realistic in its depiction of the resistance against colonizing forces, that the Pentagon in 2003, during the Bush Administration’s initiation of its “War on Terror,” held screenings for their officers in order for them to understand the resistance they would probably face. The film is also very effective in thinking about the later Abu Ghraib scandals and provides insights into the recent USA-France joint invasion of Mali.

Discussion questions:

• In The Battle of Algiers there is a powerful scene that examines the hypocrisy of Western ideology. This is when Colonel Mathieu is hosting the media to announce the capture of the resistance leader. The French celebrated the “heroic” resistance against the NAZI occupation, how were they now complicit in the same acts of the NAZIs (directly relating to the comment from one of the reporters during this scene)?

• Albert Memmi, the Tunisian writer, in his 1957 book The Colonizer and the Colonized, makes the claim that colonization is in essence “one variety of fascism” (63). Do you agree or disagree?

• France had just been defeated in another colonial war (The First Indochina War of 1945-1954 in Vietnam ), do you think this has something to do with their brutal determination to defeat the Algerian resistance.

• The French philosopher Jean-Paul Sarte considers the violence of the colonizer and the colonized to be different. What response do you have to this claim through a discussion of the violence perpetrated by both sides in the film? Is violence necessary, as Sartre claims, to the decolonization movement? Feel free to bring in observations from other decolonization movements.

• This film continues to resonate with 21st Century events in North Africa and the Middle East (in particular the Abu Ghraib scandals, the American empire’s endorsement of torture as a policy, and the American-French invasion of Mali). Are there lessons to be learned about the experiences of the colonizer and the colonized in this film?