Adventures in Unemployment by Alex Gendler. This is a bummer of a read but totally worthwhile. That’s his most recently published thing to my knowledge and you’d be doing yourself a favor by checking out more of his stuff.

The case against political prediction markets by Ian Bremmer. A fantastic read start to finish that I stumbled across thanks to the above mentioned Alex Gendler, here’s a quote:

The national security dimension is where this crosses from corrupt to dangerous. When odds on an imminent strike or an election outcome move sharply and media outlets broadcast that movement as the informed market consensus, that reported signal starts influencing how journalists frame events, what the public sees as likely and legitimate, and even how adversaries perceive intent. Iranian intelligence was almost certainly monitoring Polymarket before the February strikes. A state actor wanting to manipulate crisis dynamics could move a thinly traded geopolitical market for a few million dollars – plausibly deniable and far cheaper than mobilizing military assets – and manufacture the appearance of insider knowledge about imminent action. Cable news now quotes odds as if they were poll results. The odds become the story, never mind that it doesn’t take much to make them flip.

^Now, this quote doesn’t do the article justice, you gotta read this thing.

-Ira

6 April 2026

In my house there are two red handprints made out of some kind of resin that are stuck to the interior face of the glass door that opens to the backyard. They were there when I moved in and are probably part of a past Halloween decoration—seems like they're meant to appear as bloody, because they have oscillating bottom edges that I think are meant to imply dripping. But on the contrary, their slight three-dimensionality gives them a stagnant, low relief sculptural feeling. Like they're growing out of the glass. And there are little air bubbles and material inconsistencies inside the resin that refract light in subtle and complex ways when the sun hangs over the backyard fence and shoots into the house (happening more and more this time of year). Embarked on painting one of the prints today and found it to be a lovely way into working. Have been looking at Paul Klee's India ink and watercolor View of a Mountain Sanctuary (1926) this week, and while its questions around seeing might be primarily connected to vantage point more than anything else, his linework in it is still informing the way I'm approaching the subject's relationship to its environment, or the background's relationship to the foreground, or the relationship between touch and sight. Especially as it relates to the handprint/hand stencil as an ancient symbol.