Saturday, April 23, 2011

23/04 Discrimination has no role in overcoming Japan disaster

The calm and modest behavior of many evacuees from quake- and tsunami-ravaged areas has impressed people in Japan and overseas, but regrettably, unjustifiable discrimination and bullying has also emerged.

In one case, the driver of a car with a Fukushima license plate was told by a passer-by to leave the area, while graffiti was drawn on another vehicle from the same prefecture, where a crisis continues at the tsunami-hit Fukushima No. 1 Nuclear Power Plant.

Some hotels also refused to accommodate people from the prefecture, while children from the prefecture who took shelter in other areas were falsely accused of "having radioactivity."

The victims of such harassment and discrimination may be few, but such groundless prejudice must be eliminated.

"Radioactivity" refers to radioactive substances' ability to emit radiation. It is wrong to assume that people's health has been put in danger simply because they were living near the crippled Fukushima nuclear plant. Even if the surface of someone's clothes was tainted with a small amount of radiation as a result of remaining outside near the plant for a long time, there would be no problem if they were cleaned with water. Furthermore, it is scientifically impossible for people to "catch" radiation from others, just as people never get infected with radiation from those who have undergone X-ray examinations or computerized tomography scans.

Radiation is invisible and odorless, and prior to the current crisis, Japan had never had to deal with a massive nuclear power plant radiation leak. It is understandable that people have tended to be overly nervous out of anxiety about a lack of progress in the restoration of disaster-ravaged areas. However, the best way to protect oneself from such "unknown risks" is to have correct knowledge.

The Tsukuba Municipal Government in Ibaraki Prefecture initially decided to require evacuees from Fukushima Prefecture to be screened for radiation before entering evacuation shelters there, but scrapped the plan after protests erupted. We would like to point out once again that a fundamental task of local governments and schools is to disseminate correct knowledge.

Some critics have pointed out that the public feels insecure because the way the government has provided information on radiation risks has been inappropriate. Specifically, they refer to repeated statements by Chief Cabinet Secretary Yukio Edano to the effect that radiation leaking from the Fukushima plant "poses no immediate threat" to people's health. It would be much better if the government could clearly show whether the situation at the crippled nuclear plant is safe or not.

There are various views on the long-term risks posed by exposure to low levels of radiation. In past cases not related to radiation, potential risks from pollution and side-effects of pharmaceutical products developed into serious health hazards many years later. The government should therefore release as much accurate and detailed data as possible without delay, and state the grounds for its conclusion that the situation "poses no immediate threat."

Groundless rumors about the risks of radiation contamination spread over the Internet shortly after the disaster, but many pieces of accurate information that dismissed such rumors subsequently appeared online. Moves are spreading in many areas to buy agricultural products from Fukushima Prefecture in a bid to support local farmers hit hard by harmful rumors. Fruit juice and tomatoes from Fukushima have proven quite popular and are selling well over the Internet.

People whose lives have been threatened by the unprecedented triple crisis of a deadly quake, tsunami and nuclear power station accident are seeking both level-headed communication and social bonds. Our efforts to overcome the disaster, which are expected to be prolonged, are heading into a crucial stage.

Click here for the original Japanese story

(Mainichi Japan) April 23, 2011


社説:被災者への差別 誤解と偏見をなくせ

 悲劇の渦中にありながらつつましやかな被災者の姿が国内外の人々の心を打つ一方、心ない差別やいじめに苦しむ被災者がいる。福島ナンバーの車が落書きされたり、「どけ」と言われる。ホテルへの宿泊を拒否される。避難している子どもが「放射能がついている」といじめられる。全体から見れば少数かもしれないが、根拠のない差別は厳に戒めなくてはならない。

 そもそも放射能とは放射性物質の持つ放射線を出す能力のことである。福島第1原発の近隣地域に住んでいたからといって現在健康に影響が出るほど放射線にさらされたわけではない。屋外に長い時間いて服や車に微量の放射性物質が付着したとしても洗い流せば問題はない。まして人から人へ「放射能が感染する」ことは科学的に起こり得ない。レントゲン検診やCTスキャンを受けた人から放射性物質がうつることがないのと同じだ。

 放射線は目に見えず、においもない。原発から大量の放射性物質が漏れるという危機も国内では経験がなかった。復旧が進まないことへいらだちが募り神経過敏になるのはわかるが、「未知のリスク」から身を守るためには何よりもまず正しい知識を持つことだ。茨城県つくば市は福島県からの転入者に対して放射線量検査を求める措置を決めたものの、抗議を受けて撤回した。自治体や学校などは率先して正確な知識の普及に努めるべき立場であることを改めて指摘しておきたい。

 国民が安心感を得られないのは政府の情報提供に問題があるからだとの意見もある。「ただちには影響がない」と枝野幸男官房長官が会見で繰り返すことなどを指す。危険か安全かはっきり示せるのであればそれに越したことはない。ただ、低レベルの放射線を浴びた場合の長期的なリスクについてはさまざまな意見がある。「未知のリスク」という点では、長い年月がたってから深刻な被害が顕在化した公害や薬害も数多い。それぞれの時点で可能な限り正確かつ詳細なデータを示し、「ただちには影響がない」としか言えない根拠をわかりやすく説明していくしかない。

 一方、被災直後にネットでデマが広がったりもしたが、それを打ち消す正確な情報も次々に流された。打撃を受けている福島県産の野菜などを支援する動きも各地に広がっている。果汁飲料やトマトはネットで大人気だ。

 大地震、津波、原発事故という人類が経験したことのない危機にさらされながら、私たちは情報発信の成熟化や社会連帯を何とか見いだそうとしているようにも思う。長期化するこれからが踏ん張りどころだ。

英訳
毎日新聞 2011年4月22日 2時30分

Vài ghi nhớ để biết cho vui về các tin liên quan đến cậu bé 9 tuổi ở Fukushima

Vừa rồi có thông tin là Chủ tịch tập đoàn Tuần Châu đã nhờ Đại sứ NB tại VN trao lại tiền tặng (50,000USD) của tập đoàn cho một cậu bé Nhật.

Trang web của ông Phạm Viết Đào bảo đó là cậu bé 9 tuổi mà ông HMT đã báo trong nhật ký.
chi tiết xem tại >>
(HIỆN TƯỢNG SOMA, CẬU BÉ NGƯỜI NHẬT 9 TUỔI DƯỚI GÓC NHÌN “ XÃ HỘI HỌC”… by PVD)


Trang web của NLG (anh HLT) lai có những thông tin khác là CT tập đoàn Tuần Châu gủi tặng cho đứa bé Toshihito Aisawa là cậu bé 9 tuổi đi tìm cha mẹ ở trại lánh nạn Ishinomaki thuộc tỉnh Miyagi bên cạnh mà báo Asahi đã phát hiện
chi tiết xem tại >>
(Thông tin cuối tuần, nóng phỏng mắt: ai phịa ? by NLG)


note: Blog của 2 vị này đều có ghi trong My Blogs List để tham khảo

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23/04 4号機タービン建屋、10日で水位20cm上昇

 東京電力福島第一原子力発電所4号機で、放射性物質を含む汚染水が増え続け、タービン建屋の水位が約10日間で20センチ上昇したことが明らかになった。

 原子炉建屋地下にも水深約5メートル、水量4000トンの汚染水がたまっていることを経済産業省原子力安全・保安院が明らかにしており、その処理が新たな課題として浮上している。

 東電は2号機の高濃度汚染水を集中廃棄物処理施設に移す作業を進めているが、施設の収容可能量は当初の半分程度になる見込みで、他号機の汚染水処理のめどは立っていない。

 東電によると、4号機のタービン建屋地下の水深は13日に0・9メートル、22日午後6時には1・1メートル。約10日間に20センチ上昇した。隣接する3号機では原子炉冷却のため1時間当たり約6トン注水されている。東電は炉から漏れた水が、3、4号機のタービン建屋を隔てる壁の亀裂などから4号機側に漏れていると見ている。

(2011年4月23日14時20分 読売新聞)

23/04 高放射線量がれき発見…保安院すぐに公表せず

 経済産業省原子力安全・保安院は23日、東京電力が福島第一原子力発電所3、4号機の近くで毎時900ミリ・シーベルトに達する高放射線量のがれきを発見し、撤去したと発表した。

 これまでに確認されたがれきの放射線量は、最高でも毎時100~200ミリ・シーベルト程度で、今回のがれきは「3号機の水素爆発と関連している可能性がある」と説明している。

 見つかったのは、縦横が各30センチ、厚さ5センチのコンクリート片。東電が20日午後に見つけ、21日に有人の重機で鋼製コンテナに回収した。コンテナから約1メートルの距離で測った線量は、毎時1・1ミリ・シーベルトに落ちていたという。

 保安院は、コンクリート片の発見後すぐに東電から報告を受けていたが、公表していなかった。西山英彦審議官は、「今後は、分かったことはすぐに公表したい」と話している。

(2011年4月23日20時56分 読売新聞)

23/04 サンデル教授「原発議論は民主主義の試金石」

読売新聞などと会見するハーバード大学のマイケル・サンデル教授=吉形祐司撮影

 【ケンブリッジ(米マサチューセッツ州)=吉形祐司】ベストセラー「これからの『正義』の話をしよう」の著者、米ハーバード大学のマイケル・サンデル教授(58)(政治哲学)は22日、本紙などと会見し、福島第一原子力発電所の事故を受け、いかに原発の将来を議論するかが「民主主義の究極の試金石となる」と述べ、建設的な論争を求めた。

 1人殺せば5人を救える場合、1人を殺すことは正義か――こうした「究極の選択」を講義で論じる教授は、原発是非論に関して「激しく対立する問題で議論を避ける傾向があるが、間違いだ。(互いに)敬意を払い、開かれた議論ができるかどうか、民主主義が試されている」と断言した。

 議論のリード役については、「まず政治家だが、政治家はいい仕事をしていない。市民がそれを要求していないからだ。メディアの責任は大きいが、娯楽的な『どなり合い』ではなく、真剣に討論する場を提供すべきだ」と述べた。

(2011年4月23日18時41分 読売新聞)

22/04 Falling in love with St. Andrews, Scotland

‘Bums!”

Katy Barker, whom I’ve just met, is instructing me to look at the rear ends of four men whom I don’t know at all.

“Bummmms!” she bellows again, mimicking the proper way to take a good long gander. “Now, chase!”

In the course of one hour, I chase. I skip. I pas de basque my patootie off, which is good, since it’s weighted down with the giant slabs of shortbread I’ve been eating ever since arriving for a weekend in St. Andrews, Scotland.

Along with 16 other students, I’m taking an intermediate Scottish Country Dancing class in the activities room of the local sports complex. The particular dance we’re doing is called “Flowers of Edinburgh,” which Katy has explained like this: “First, the ladies want to check out the men’s bums. Then the men want to check out the ladies’ faces. Then it gets a little bit interesting because the men check out the men’s bums, and the ladies check out the ladies.” (Because of an uneven split of the sexes, some of the men are, in fact, ladies. “This is my man sash,” my partner Louise says cheerfully, gesturing to the satin ribbon brandished across her chest.)

On the dance floor, Katy’s instructions translate into a spider-web pattern of couples weaving behind and in front of each other, changing partners and regrouping in quartets, all to lively fiddle music. It’s sort of like “Riverdance” meets “Hee Haw,” but in a good way.

“If you give people a little story, they remember the steps better,” Katy explains later. Sometimes the story has to do with dukes or kings, but often it has to do with a little wink-wink, nudge-nudge. “Scottish dancing,” Katy says, “is all about . . . you know.”

We know. St. Andrews is, after all, where Prince William met Kate Middleton, when both were freshmen at university here, living in St. Salvator’s hall. Tucked on the east coast of Scotland, a few bus transfers from Edinburgh, the town is where the blue water meets the green countryside and the air smells like sea salt and lilacs.

To me, at least, St. Andrews is all about romance.

Or not. If you ask some people, St. Andrews is all about golf, which is the opposite of romance. St. Andrews is where the modern sport was invented. It has been played here for half a millennium. People from around the world make pilgrimages, dressed by Calloway and toppered with tam o’-shanters, to play on the Old Course — the oldest golf course in existence — for more than $200 a round. These people’s wives (and some husbands) have high tea at the Old Course Hotel, eating scones, listening to a harpist and smiling benevolently at their spouses, who are outside kissing the Swilcan Bridge by the 18th hole and pretending to be Jack Nicklaus.

Other people might say that St. Andrews is all about history, with its castle ruins and roaming bagpipers, and the way the sound of the 550-year-old chapel’s morning bells ricochets throughout the town.

Still others are into St. Andrews only for its looks: the rocky cliffs jutting out over the North Sea, or the wide sandy beach where “Chariots of Fire” was filmed and where university students in their bright red robes wander on the weekends.

But for me, St. Andrews means romance, because St. Andrews is where I fell in love.

Granted, it was a quadratic sort of love, split among three people and one cooking utensil.

During my junior year of college, I did a semester abroad at the University of St. Andrews. At foreign student orientation I met Danielle from Connecticut, Eric from Iowa and Emilia from South Carolina. For six months, I spent Saturday mornings watching the polo team exercise their horses on the beach with Emilia, Monday evenings studying Shakespeare with Danielle, Wednesday nights eating sweet popcorn at the tiny North Street cinema with Eric. On Sundays, the dining halls closed, so we prepared meals together in a wok that came with four red bowls and four sets of chopsticks and was co-owned by Danielle and me. We purchased the wok set partly because it was on sale, but mostly because it was made for four.

St. Andrews has a lot of flavors: subtle leeks bought fresh at Tesco’s, crumbly shortbread from Fisher and Donaldson’s, sticky toffee pudding from the Rule pub, pungent haggis on Robert Burns’s birthday. But because of the six months I spent with the Great American Wok Club, to me St. Andrews will always taste, regrettably but fondly, like stir fry.

St. Andrews is, without question, my favorite place in the world — at least the version of St. Andrews that exists in my memory. I hadn’t been back in years — nearly a decade since we all studied together. Now I’ve returned, a solo traveler, curious to see whether it’s possible to fall in love with the town when the people who made me love it are gone.

But first, my butt hurts. Scottish Country Dancing is no joke on the calves and glutes; the morning after my class I am jet-lagged and sore. Jenny, the proprietor of my bed-and-breakfast on Queen’s Garden, has laid out a full Scottish breakfast, and I am eating the pain away.

Over poached eggs and stewed fruit (Jenny also points out the “wheaties, frosties and trailies” cereal options; the Scottish have a lovely way of making everything a dimunitive), I ask the communal table for low-impact tourist suggestions.

“You could go to the Kate Kennedy procession,” suggests Simon Smith, a computer programmer with thin-rimmed glasses and a goatee. Simon and his girlfriend, Caroline Ingram, attended St. Andrews several years ago and are back for a reunion ball.

Kate Kennedy is . . . ?

“It’s a society that only allows men,” says Caroline, rolling her eyes, which conveys exactly how she feels about that. Kate Kennedy was the beautiful niece of a beloved 17th-century archbishop who was murdered in his prime. Kate’s visits to St. Andrews were always marked with celebration; the exclusive and posh Kate Kennedy Club has been reconstructing them for more than 80 years with a lavishly costumed parade in her honor.

“I was recruited for Kate Kennedy,” Simon remarks conversationally, which causes Caroline to roll her eyes again.

But the procession doesn’t begin until 2, so I begin the morning by walking to the St. Andrews Cathedral ruins, the remains of the 12th-century church that once anchored the town.

St. Andrews was originally called Kinrimund. It acquired its new name in the late Middle Ages based on the legend that the area is the resting place for the bones of St. Andrew. For decades it was the ecclesiastical center of Scotland. The priory wall surrounding the cathedral is said to be the oldest and longest medieval wall in Europe, and the tower inside it is the best vantage point within city limits.

Near the cathedral ruins are the ruins of a castle, which housed the cathedral’s powerful bishops and several generations of Scottish kings. Inside, there is a dank bottleneck dungeon and a claustrophobic mining tunnel used by 16th-century Protestant rebels to gain entry into the castle walls during the Scottish Reformation. They killed the resident cardinal and hung his body from the walls.

Presentation-wise, neither the cathedral nor the castle can compare with the lovingly restored castles in Glamis or Edinburgh, which are furnished with tapestries and heavy, knobby furniture. The St. Andrews structures are just crumbled walls overlooking the water — roofless outlines representing only the vaguest memories of what the sites once were.

But there is something infinitely more romantic about ruins than about completion. Ruins evoke emotions of the saddest love stories: “Wuthering Heights” or “Braveheart,” Mel Gibson charging through the Scottish countryside, back when he was more cute than bonkers.

After the ruins, I decide to walk to St. Salvator’s Chapel, a 15th-century church that’s still used for services on Sundays and for weddings — usually involving tartans, usually accompanied by bagpipes — throughout the weekend. Before I can go inside, I am distracted by a whooping cheer from the chapel courtyard.

“Gentlemen, it is my great pleasure to introduce you to — ”

With this, a figure appears: pale blue dress, long brown hair, rouged cheeks, lipstick. It is a man.

“This year’s Kate Kennedy!”

The Great American Wok Club missed the Kate Kennedy procession when we studied here. It was held the weekend we’d all decided to go to Glamis. And for not the first time this weekend, I profoundly miss my friends. The absurdity of the spectacle being played out before me — Scotland’s upper crust, the future rulers of the country, gussied up for pantomime — should really be marveled at with other Americans.

In the courtyard, the preparation for the parade is still underway, and everyone is getting in line.

“Queen Mary?” asks Digby Don, who is organizing the procession. “Where’s my Queen Mary?”

“Here,” answers a tall boy in a red wig, riding on horseback.

“J.M. Barrie? Rudyard Kipling, you stand here. The Murderers Three? Is anyone here a murderer?”

The procession is meant to represent every individual who contributed to the development of the university or of Scotland in general — an ever-expanding lineup that includes, somewhat inexplicably, John Cleese and Benjamin Franklin.

Kate Kennedy is always played by the freshman pledge whom the other members of the society deem the most promising. This year it’s a boy named Edward Battle, who has delicate features and a slim build.

“They always choose someone rather pretty,” explains Emily Dixon, one of the female students whom the Kate Kennedy Club has selected to pass out programs and fliers for the procession. These girls are known as Kate Kennedy’s Kittens, which Dixon admits is a rather unfortunate name. However, she notes, she and her fellow Kittens are all wearing dignified school robes, while their counterparts are parading around town as John Cleese doing the Minister of Silly Walks, so who is really to say which is more ridiculous?

In honor of my absent friends, I end the night at Kinness Fry Bar, for one of St. Andrews’s more renowned and utterly questionable food products.

Kinness is a St. Andrews institution because of its cooking philosophy, which is shockingly simple and astoundingly brilliant: If you bring it, they will fry it.

“I’ve been asked to do shirts, pants, shoes,” says Dragosh Parasca, chief fryer. He has to refuse the inedibles for health reasons. “But I have fried apples and lemons. We can’t do the [Cadbury] Cream Eggs because there is a chance of them exploding.” Under a heat lamp at the entrance sits an assortment of the more typical requests: deep-fried haggis, deep-fried blood pudding, deep-fried sausages.

I decide to stick with the Kinness specialty: a deep-fried Mars candy bar, which is exactly as unholy as it sounds and four times as delicious.

Parasca also insists that I order a chocolate pizza, which contains pizza dough, maple syrup, Rolos, bananas, chocolate flakes and cheese. He tells me that it’s more healthful than the Mars bar I’ve just finished eating, which makes me want to cry.

It’s funny, the things that you remember about a place. Before I’d left for this trip, I’d e-mailed Eric and Danielle and asked for their best memories, hoping that I could recapture what had made the place so charmed nine years ago. Eric had suggested visiting the all-night pizzeria that he and I used to frequent, phoning each other after midnight and begging for company on the cold, damp walk to South Street. Danielle talked about early-morning runs on the beach.

But when I am back in St. Andrews, their suggestions aren’t as appealing as I thought they’d be. For one thing, the pizza that Eric and I used to eat was gross. We went to that pizzeria only for its late hours and the fact that there was a bench outside where we could sit and reminisce about green bean casserole and backyard wrestling — relics from our shared Midwestern roots. And while running is normally as fun for me as toilet cleaning, Danielle had made it entertaining by singing Barenaked Ladies songs and discussing the plots of intricate BBC dramas.

In a rather obvious observation that can be applied to almost all travels, it was the people who made that time special, not the place.

This time in St. Andrews, the things I’m most enamored of are the things I’m discovering on my own. Kate Kennedy, for example, or stopping for dinner at Dunvegan’s pub, a golfers’ favorite hangout that’s plastered with the photos of its clientele (Sean Connery, George H.W. Bush, Neil Armstrong). On the night I go there, it’s overrun by a group of very merry Swedish men on their 12th annual pilgrimage to St. Andrews. “Ve don’t know vat our vives are doing,” Per Jansson explains happily. “Dey are at home.”

On my last free morning, I rent a bicycle and ride out of town, over hills and through patches of heather, until I’m surrounded by barley fields and pastures of an astonishingly rich shade of green. Off a little farm road, there’s a field full of Highland cattle — great shaggy cows with russet-colored hair, enormous horns and plaintive moos. The farm is owned by a man named John Stewart, whose family has worked the land since 1924. When I ask nicely, he takes me into the pasture for feeding time.

“C’mon, girls,” he coaxes the cattle, and soon we’re surrounded by mama cows and their newborn calves — wee little teddy-bearish creatures with chubby legs that gambol and play together like puppies.

Afterward, John suggests an alternate route for the ride back to St. Andrews, telling me to look to the left at a certain point in the path.

When I follow his instructions, I’m literally speechless. It’s the most beautiful view I’ve ever seen — a panorama of sandy bluffs, manicured golf courses, the cathedral ruins and the wide, expansive sea.

And just like that, with no influence from others and for all the right reasons, St. Andrews and I are in love.

22/04 Just ‘Dance’: Work by Lucinda Childs captures the essence of the art form


( SUSAN BIDDLE / FOR THE WASHINGTON POST ) - Caitlin Scranton performs alongside the projected image of Lucinda Childs in “Dance” at the Clarice Smith Performing Arts Center.

To watch Lucinda Childs’s “Dance,” performed Thursday and Friday at the University of Maryland, is to be bowled over by the absorbing richness of minimalism.

There’s the smart execution — dancers pulsing across the Clarice Smith Performing Arts Center stage in tight, linear formation, like sparks of light. And the rigorous selectivity of the steps — skimming runs, small, unemphatic leaps, a split-second turn, light skips. But little else. For an hour. The visual delight and the swept-up feeling come from myriad variations Childs has worked out on a theme of exquisite clarity.

This piece, which the experimental modern-dance choreographer created in 1979 in collaboration with composer Philip Glass and visual artist Sol LeWitt, is minimal down to its name. You watch the dancers’ subtle changes in accent amid unflagging speed, how they stream across the stage with a thrilling constancy that starts to feel eternal, and you think, yes, this is the essence of dance.

It’s also a merry farewell jig on the grave of self-indulgence. If you have tired of the explosive displays of agility and showboating that characterize much of ballet and even contemporary dance — where extremes of stretch and the altitude of jumps are just about the whole point — “Dance” offers a more thoughtful, considered approach to spectacle. For it is a spectacle of sorts, albeit a highly disciplined one. That is its charm and its power. Glass’s silvery musical outpouring grounds the dancing and also energizes it, while LeWitt’s black-and-white film of the original cast, projected on a transparent scrim in front of the live dancers, creates an altered reality of transient layers.

“Dance” opens with a giant still photo, looming on the scrim, of two dancers captured in mid-step. Then two live dancers leap across the stage, performing that same step again and again, adding a quick run, a sideways jump and more running that carries them into the wings.

Glass’s music is full of rippling high notes and contrasting undertones, and the distinct tension in the score is echoed in the interplay between the dancers and their counterparts on film.

The filmed dancers performed on a grid, and when it is projected on the scrim, it looks like a vaporous three-dimensional substance so that the live dancers seem to be moving on and through it. Moving behind the grainy, translucent images (originally shot in 35mm film, recently transferred to digital form), the dancers appear to be moving through fog.

The second section of “Dance” is a solo, danced by Caitlin Scranton. But mostly, we see LeWitt’s film of Childs herself, who danced the solo in the original cast. We see her at the outset, filmed in a close-up as big as a billboard, standing perfectly still. Above her firm cheekbones and square jaw, her eyes look out with such a determined, concentrated gaze it is a surprise when she blinks.

The music is deeper in tone in this section, sounding like a church organ. LeWitt played with perspective; at times Childs is filmed so close that her great giant self seems about to dance into the audience. At other times, she is filmed from above, so the grid on which she was moving fills our plane of view. The music grows obsessive: a single, strong pulse. Childs, in white top and trousers — the uniform of this piece — skips unsmilingly up and down the same line, a renunciate in the Order of Divine Order. She is a point on God’s graph paper, her steps as compulsive and earnest as a prayer.

Let’s have more minimalism, I say — if you’ll pardon the contradiction in terms. Think of all the pluses: Minimalism focuses on just the essentials. There’s nothing extraneous. Minimalists are resourceful, mining the same territory over and over. (And over.) And then — it’s over. As the last dancer came to a halt in “Dance’s” third and final 20-minute section, there were gasps in the audience at the shock of the sudden stillness.

After Thursday’s performance, Childs took questions from the audience. Dressed in a sleek black pantsuit, with cropped silver hair, she looked just as serious and withheld as in LeWitt’s film of more than 30 years ago. Nothing about her encouraged gushing; still, people gushed.

One man expressed his opinion that Twyla Tharp’s well-known 1986 work “In the Upper Room,” which also uses Glass music, borrows from “Dance.” (In truth, there is a similarity or two, but I’m not so sure about a connection.)

Childs brought her microphone to her lips. “I’m not responding,” she said, wisely. “I’m just saying thank you.” Mike down. Next question.

Minimalism. It also works as etiquette.

10/04 Fukushima: What happened - and what needs to be done

A month has elapsed since the emergency at Fukushima began. But what exactly has gone on there and what are the priorities now?

The four crippled reactors at Fukushima, picture from unmanned drone, 20 March. From right to left; reactors 1, 2, 3 and 4. Picture: AP/Air Photo Service.

One way of looking at the drama that has unfolded around the Fukushima Daiichi nuclear reactors is as a narrative with one central plot, and a number of sub-plots distracting the attention.

The main story is well established. At 14:46 local time on 11 March, a magnitude 9 earthquake struck off Japan's north-east coast.

The 11 operating nuclear power reactors in the region all "tripped" as designed (the nuclear fission process was stopped).

However, the fuel in a nuclear reactor continues to produce considerable amounts of heat even when fission has stopped, and the key task - the main plot in this drama - is to keep water circulating over the fuel to remove that decay heat.

Eleven Reactors

  • Reactors 1-3 at Fukushima Daiichi (Reactors 4-6 were not operating)
  • Four at Fukushima Daini
  • Three at Onagawa
  • One at Tokai

This is to prevent damage to the fuel rods, and to the containment around the reactor - the thick steel pressure vessel and the surrounding concrete structure designed to keep fissile material isolated from the outside world in all circumstances.

Mains electric power to the pumps providing this cooling water was lost in the earthquake, so back-up diesel generators kicked in, again as designed, and all looked good. But an hour later the tsunami hit, taking out the diesel generators and the oil storage tanks. Fukushima Daiichi was designed to withstand a six-metre tsunami - 15 metres was just too much.

All the reactors except Daiichi 1-3 were brought into "cold shutdown", with water circulating as required, some after minor problems. But at the three oldest Fukushima plants, connected to the grid between 1970 and 1974, the loss of power to the pumps led to water in the pressure vessel boiling and the fuel heating up hugely.

The zirconium alloy cans that contain the fuel pellets burst and it is probable that some fuel melted, though we cannot yet be sure about this.

Pressure

The early decision to evacuate people from the immediate area was crucial - it gave the operators flexibility to deal with the immediate problem, which was the build-up of pressure inside the pressure vessel as the water boiled.

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Estimates suggest that water levels are now above half-way up the fuel in the core of Reactors 1-3 - enough to introduce an element of stability ”

Too much pressure would burst the seals in the pressure vessel and allow material to escape, so it was necessary to vent these gases.

However, inevitably, letting the steam out also allowed escapes of hydrogen (caused by the zirconium reacting with water or steam at high temperatures) and small amounts of radioactive material which had leaked from the broken fuel rods.

This was the cue for the first subplot - the explosion in the outer buildings of Reactor 1 on the 12 March, followed by a similar explosion in Reactor 3 on 14 March, caused by hydrogen mixing with air.

Dramatic as the pictures were, these explosions did not seem to damage the containment. On the other hand, an explosive noise from within Reactor 2 on 15 March led to fears that there might be a breach in part of the containment, known as the suppression chamber or "torus" - again, we still do not know for sure.

By now, with no power available on site, the water level inside Reactors 1 to 3 was sinking and the fuel was seriously overheating.

Key Questions

  • Has any fuel melted?
  • Have containments been breached?
  • What is the temperature inside Reactors 1-3?
  • What is the source of the contamination found in water in the turbine halls?
  • What caused the fire and explosion at Reactor 4?
  • Where did plutonium traces in soil come from?
  • Have the cooling pumps been damaged?

Fresh water supplies ran out, so a decision was taken to switch to seawater, and to inject it from fire trucks through a fire extinguishing line. Later, a new supply of fresh water became available from a local dam, and this is now being used, as salt deposits from the seawater risked jamming up valves and causing other damage in the cores.

This operation is continuing, with estimates suggesting that water levels are now above half-way up the fuel in the core of Reactors 1-3, enough to introduce an element of stability while work continues to restore mains power to the cooling system pumps.

Fuel ponds

Power is back to the plant as a whole, but these pumps have not yet been switched on. It is also likely that many of them will need replacing because of damage suffered during the tsunami.

The second subplot centres on the spent fuel ponds, where fuel that has been taken out of the reactor is cooled for some months until it is taken away for processing. The water supply to these ponds - to replace water lost through evaporation - was interrupted, resulting in boiling.

Helicopter dropping water on FukushimaAn extraordinary sight: A helicopter dropping water from the air

At Reactor 4, where there was an unusually large amount of spent fuel in the pond, there seems to have been damage to the zirconium fuel rods, and, possibly, a release of hydrogen - there was at any rate another explosion, which damaged the outer building.

It was now necessary to get water into those ponds to prevent major releases of radioactivity, hence the extraordinary sight of a helicopter dropping water from the air and high pressure hoses being directed as best as could be towards the ponds through the wrecked outer buildings.

Water is now being supplied through specialised high-reach pumps normally used for injecting concrete, and via internal plumbing.

Then came the leak of highly contaminated water from a service pit near Reactor 2, resulting in discharges to the sea. A 20cm crack was detected and sealed using a polymer called "water glass", though where the contamination came from in the first place remains unclear.

And in yet another subplot, waste water reservoirs on site became full of lightly contaminated water, leaving no space for more heavily contaminated water - requiring a further (light) release into the sea.

Traces of plutonium - which may have originated in the spent fuel ponds of Reactor 4 - were also detected in soil at the site.

Temperature

These subplots, though not really going anywhere in themselves, have on a number of occasions made it necessary to take resources away from the main task - the cooling of the reactors - either because of a need to deal with them directly or to avoid high worker doses while associated spikes in radiation levels passed.

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In the long term, a decision could be taken to remove the fuel from the cores of Reactors 1-3, as at Three Mile Island in the US”

The top priority is to get the pumps working that will keep the cores of Reactors 1-3 cool, as the fuel continues to produce decay heat. Success could be defined as cold shutdown - bringing the temperature down below boiling point (100C).

At present, the water temperature inside the reactors is unknown, but temperatures on the outer surface of the pressure vessels range from 84C to 222C.

Beyond that it is important to restore a reliable water supply to the spent fuel ponds, or to remove the spent fuel to another facility, and to make sure that any cracks or other breaches of masonry are blocked to minimise further releases into the environment.

In the long term, a decision could be taken to remove the fuel from the cores of Reactors 1-3, as at Three Mile Island in the US.

So far the amounts of radioactive materials released from the site are very unlikely to cause any detectable long-term health problems - though there will need to be a careful study of contamination in the area.

In the meantime, further subplots would not be helpful.

Malcolm Grimston is an associate fellow of Chatham House's Energy, Environment and Development Programme, and a senior research fellow in the Energy Policy and Management Group at Imperial College, London.

Boiling water reactor explained