1) “No studio director was a greater hero to the Hong Kong new wave than Martin Scorsese. John Woo dedicated The Killer to him; Wong Kar-wai modeled his first feature, As Tears Go By, after Mean Streets; Taxi Driver’s rain-slicked slo-mo urban stylistics worked their way into countless lesser HK films.”

2) “With neighboring emirate Dubai gaining global attention for luxury tourism and eye-catching architecture, Abu Dhabi, the capital of the United Arab Emirates, is looking to use culture to engage travelers’ imaginations. As part of that effort, officials are seeking to recreate the “Bilbao Effect” very, very exactingly: The emirate has signed separate deals with the Guggenheim Foundation and Frank Gehry to build a new branch of the museum of the architect’s design.” (Isn’t Gehry Jewish?)

3) “Welcome to the Homeland: A Journey to the Rural Heart of America’s Conservative Revolution. This is an insightful look at a part of the country that city- and suburb-dwellers do not see or understand enough.”

4) “The eight-year-old firm is designing four projects in China after winning a Home of the Year award for their Madrona Residence.”

5) “Burial’s London is a wounded city, populated by ectsasy casualties on day release from psychiatric units, disappointed lovers on night buses, parents who can’t quite bring themselves to sell their rave 12 inches at a carboot sale, all of them with haunted looks on their faces, but also haunting their interpassively nihilist kids with the thought that things weren’t always like this.”

SUGGEST FOR WEDNESDAY OCTOBER 4

TV on the Radio

(MUSIC) It’s a beautiful thing when a band as experimental and progressive as Brooklyn-based TV on the Radio makes the jump to a major label unscathed. Return to Cookie Mountain (Interscope) is an ethereal, intelligent album that seamlessly blends exploratory electronica, hiphop, soaring rock, guttural soul, and the occasional flourish of doo-wap. As stunning as the record is, their live performance is even more awe inspiring. With Grizzly Bear. (Showbox, 1426 First Ave, ticketswest.com. 8 pm, $16 adv/$18 DOS, all ages.) HANNAH LEVIN

Quick note: Those who are kidding themselves are those who think a piece of criticism is poor or invalid because it has in its attack ad hominem weapons. A critique of any work must strive to be total, nothing should be left out—the economic situation, class position, diet, sexual habits, the amount of hairs in a nostril. There is no thing-in-itself, some eternal pure truth that needs to be left alone (the secret motive of those who want to stop at just the work, the wall of the work, and leave its creator out of it). The whole art object and the world that brought it into existence must be, to quote KRS-One, “broken down to the very last compound.”