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An 1859 fight over how to make matzah has lessons about the threat of AI today
(JTA) — In the last few months the world has been dazzled by an astonishing sequence of AI systems capable of performing all kinds of difficult tasks — writing code, composing poetry, generating artwork, passing exams — with a level of competence that rivals or exceeds what humans can do. The existence of these AIs has prompted all manner of soul-searching about the nature of humanity. It has also made many people wonder which human tasks are about to be taken over by machines.
The capabilities of these AIs are new and revolutionary, but the story of machines taking over human jobs is not. In Jewish history the most important story of that transition has to do with matzah, and it’s a story that carries important lessons for the present day.
Starting 164 years ago, dozens of European rabbis engaged in a furious debate that would not be fully resolved until the beginning of the 20th century. Matzah, which for millennia had been made by human hands in accordance with the narrow constraints of Jewish law, could now be processed with a series of machines that promised huge savings of time and money. As town after town adopted these machines, opposition began to rise, until it exploded in 1859 with the publication of “An Alert for Israel,” a collection of letters from prestigious rabbis, who adamantly argued that for anyone interested in following the laws of Passover a matzah made with a machine was no better than a loaf of bread.
The arguments for this position were many, but all will sound familiar to anyone following the AI conversation. Like today, some objected to the machines just because they were new and different, but most had more specific concerns. First, there was the matter of lost jobs. In many parts of Europe matzah was made by the poorest members of society, who were given the job as a way to help them raise money before one of the most cost-intensive holidays of the year. Ceding this job to machines would take work from those who could least afford it.
It takes about 20 seconds in a 1,300-degree, coal-and-wood-fired oven to bake shmurah matzah to perfection. (Uriel Heilman)
Beyond economics, there was concern that the machines just weren’t as reliable as people, especially given the rules around matzah-making outlined in Jewish law. What if bits of dough got trapped in the gears, quietly leavening for hours and unknowingly ruining whole batches of matzah in the process? What if the trays warmed the dough too fast? Without proper oversight, how could you trust your own food?
Finally, some objected to the loss of a literal human touch. Jewish law stated that matzah was supposed to be made by people who knew they were baking matzah. A machine, no matter how sophisticated, didn’t “know” anything. How could you eat matzah on Passover knowing that this most important food was made by a mindless machine?
The responses didn’t take long to arrive. “A Cancellation of the Alert,” a collection published the very same yearr, forcefully argued that machine matzah was perfectly fine — and possibly even better than the human product. No, inventions aren’t inherently bad. No, the machines wouldn’t harm the poor, because the machines made matzah less expensive for everyone. No, the machines weren’t prone to error — and they certainly weren’t more error-prone than lazy, careless humans. No, the machines didn’t know what they were doing — but the people who built them did, and wasn’t that enough?
The machines eventually won, but then something happened that I don’t think either side anticipated. With Manichewitz’s machine matzahs claiming most of the American market by the early 20th century, it was now the handmade matzah makers who were on the back foot; it was they and not the machines who needed to demonstrate that they were up to the difficult task of preparing this food with the efficiency and reliability of the machines.
The result is more than a little tragic. Matzah is the Jewish food with the deepest origins of all — deeper than brisket, deeper than latkes, deeper even than challah — and yet it is the ritual food most likely to be picked up at the supermarket and least likely to be made at home. While there are still communities today that exclusively eat handmade matzah, even this job is now largely outsourced to just a few companies that resemble their machine-driven counterparts in scale. While teachers will sometimes demonstrate how to make matzah for educational purposes, across the religious spectrum the era of locally made matzah is over.
Despite the fact that it’s hard to imagine a simpler baked good — matzah is just flour and water, and it’s literally illegal to spend more than 18 minutes making it — its production is treated as though it is only slightly less complicated than constructing a jet engine, and people are worried about shortages as though matzah were a natural resource or an advanced microchip. The transition has been so complete that we barely remember there was a transition at all.
Baked matzah coming out of the oven at Streit’s Matzo factory on Manhattan’s Lower East Side, date unknown. (Courtesy Streit’s Matzo)
Did the rabbis pushing for machine matzah know this was going to happen? Almost certainly not. The economic impact of machine labor is relatively easy to predict, but the psychological and cultural effects are a lot harder. There was probably no way of knowing how machines would change the way we thought about matzah in the long run, but today it’s clear that automating this ancient task has changed our own relationship to Passover’s central food — and because the change has resulted in a lot of alienation from matzah production, I’m not so sure it was a change for the better. Making matzah locally could have been a way to feel connected to the ancient Israelites, who left Egypt so fast that they didn’t have time to make anything else. Instead of emulating this ad-hoc food, we optimized it for cost and efficiency, in the process turning matzah into just another specialty cracker on the grocery store shelf. Was it really worth it?
It’s probably a bit much to say that OpenAI is just a modern Manischewitz, but the parallels between the debate about machine-generated matzah and the present debate about machine-generated everything are useful for considering how short-term policy choices around AI won’t necessarily capture all of the technology’s long-term effects on how human beings want to spend their time. When we relinquish an activity to an AI for economic reasons, we may eventually come to believe that humans are no longer qualified to do the task at all.
Then as now we must balance our economic needs against our ideas about what kinds of activities make for a good and fulfilling life.
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The post An 1859 fight over how to make matzah has lessons about the threat of AI today appeared first on Jewish Telegraphic Agency.
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At Eurovision, Israel’s near triumph shows the limits of tolerance
VIENNA — A keffiyeh was blocking my view, and it bothered me less than I would have expected.
It was around 9:45 pm, and I was standing outside Vienna’s city hall, where the city had erected a “Eurovision village.” The pan-European singing competition was taking place in the former Habsburg capital, grand architecture framing massive public viewing screens.
Security was tight. Visitors weren’t allowed to bring bags inside the area, and we were patted down by two separate guards before we were allowed to enter. In August 2024, a foiled terror attack led to the cancellation of three Taylor Swift concerts, an international embarrassment authorities were keen not to repeat.
And then there were the protests over Israel’s participation.
The day before, an anti-Israel solidarity concert had featured a video call with Unorthodox author Deborah Feldman, who said she was protesting the “whitewashing” of a genocide. A separate “song protest” reportedly escalated from chants of “One love” to “Death, death IDF.” Earlier that day, demonstrators had marched along Vienna’s main shopping boulevard. By the time evening rolled around, a group of clowns had gathered outside the parliament, practicing creepy, Joker-like laughs and holding signs that said “United by Genocide,” a play on the Eurovision Song Contest’s slogan. “United by Music.”
For a contest that insists on being apolitical, Eurovision had become unmistakably political.
I didn’t care much for the music, but world events were unfolding here in Vienna, and I wanted to see them up close.
Israeli singer Noam Bettan was the third to perform. As he got on stage and started singing “Michelle,” a couple of people in the crowd I was standing in started shouting “Free Palestine” at the screen. The chants weren’t loud enough to drown out the performance
Then, someone in front of me raised a keffiyeh, stretching it between both hands and waving it in the air. It blocked my view. I considered asking him to lower it. But did I really want to risk a confrontation? Instead, I stepped sideways – slightly annoyed, but telling myself this was the price of tolerance.
Only later that night did I begin to wonder whether tolerance was, in fact, a shared value.
Back home, I watched the voting. Just before 1 a.m. the audience vote catapulted the Israeli act into the lead. In the previous two years, Israeli entries had also performed strongly with viewers, placing first and second in the public vote without winning overall. The reasons have been debated: diaspora support, savvy promotion, or simply songs that fit the Eurovision formula — catchy, theatrical, sung with a powerful voice. (Israel has won the competition four times, most recently in 2018.)
Israel’s promotional efforts have drawn criticism, but no evidence of manipulation has emerged, and the public broadcaster KAN has responded quickly to European Broadcasting Union reprimands.
It didn’t matter. Social media filled with accusations that Israel had cheated. In the arena, just before Bulgaria’s points were announced, the booing aimed at Israel’s entry grew so loud it was clearly audible on the broadcast.
Bulgaria won, Israel came in second, and I felt something close to relief. At a time when several countries had already stayed away and others were wavering, it seemed less like a celebration than a breaking point. I wouldn’t want to witness what would happen if Eurovision were to be held in Israel next year.
It had been easy to move when the keffiyeh blocked my view. One step to the side, and the problem was gone. However, there was no stepping aside from what came later. Freedom of speech is about making space, but it can also be used to close it.
The post At Eurovision, Israel’s near triumph shows the limits of tolerance appeared first on The Forward.
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Israel’s Noam Bettan takes 2nd at Eurovision, buoyed by scrutinized public vote
(JTA) — The Israeli contestant in the Eurovision Song Contest won second place for the second year in a row, drawing a strong public vote despite protests over Israel’s inclusion in the contest.
Noam Bettan and his song “Michelle” ranked third in the public vote and eighth in the jury vote, which combined to give him second place behind the entry from Bulgaria, which won the contest for the first time.
Bettan thanked his fans in a post on Instagram after leaving the stage.
“I’m still processing everything and trying to find the words for this incredible journey. You guys are amazing and this is all because of you. I love every single one of you!” he wrote. “This is just the beginning, there are so many amazing things in the way! 🤍Am Israel Chai!!!”
Five countries boycotted the contest this year over Israel’s inclusion, citing Israel’s military operations in Gaza. After the competition, a spokesperson for VRT, Belgium’s national broadcaster, said the country was unlikely to participate next year unless the European Broadcasting Union, which runs the contest, makes “a clear statement against war and violence and for respect for human rights.” Belgium came in 21st of 25 competitors in the final.
Bettan faced a smattering of boos both during the semifinal on Tuesday and during the final on Saturday in Vienna, as well as when Israel briefly led the leaderboard during the announcement of the audience votes. He told the Jewish Telegraphic Agency ahead of the final that he believed he had more fans than detractors and that he would focus on them.
Israel scored 220 points in the public vote after drawing a formal warning from the EBU for its campaign urging supporters to send all 10 of their votes to Bettan. Israel’s broadcaster called off the campaign after being told it was “not in line with our rules nor the spirit of the competition.”
Israel also drew 123 points from national juries, more than twice what it earned last year when 22 countries awarded Israel no points at all in a result seen as driven in part by political tensions.
This article originally appeared on JTA.org.
The post Israel’s Noam Bettan takes 2nd at Eurovision, buoyed by scrutinized public vote appeared first on The Forward.
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It looks like a kaffiyeh, but this pro-Israel influencer wants you to wear a sudra
In a recent viral Jubilee video viewed more than 1.5 million times, pro-Israel activist Rudy Rochman sits across from a group of 20 pro-Palestinian activists, debating the Israeli-Palestinian conflict. Draped around his neck is a black-and-gray checkered scarf that looks almost identical to a kaffiyeh.
Look closer, and the pattern resolves into something else: tiny Stars of David clustered together, alongside Hebrew lettering spelling out Am Yisrael Chai — “the people of Israel live,” which has became a mantra after Oct. 7 and the hostage crisis. It’s not a kaffiyeh, Rochman says, but a modern twist on the sudra, a cloth head covering once worn by Jews across the Middle East — and he wants to bring it back.
Since the Gaza War, the kaffiyeh has become an increasingly visible symbol of pro-Palestinian activism. Now, Rochman is part of a small but growing effort to revive the sudra as a marker of Jewish identity rooted in the Middle East. He runs the company My Sudra, promoting and selling the garment online. It has been embraced by a niche but visible group of young pro-Israel influencers.
Rochman, a 32-year-old Jew of Moroccan and Algerian descent, said he and his family wore sudras during celebrations like bar mitzvahs and weddings. In old family albums, Rochman says most photos of his grandfather and great-grandfather show them donning the garment in Morocco.
As a child, Rochman understood the head covering as Middle Eastern rather than distinctly Jewish. Once he learned about its connection to Judaism, he set out to revive it, beginning to create sudras in 2016 while a student at Columbia University.
The term sudra appears in rabbinic literature, including the Mishnah and Talmud, as a general term for a cloth typically worn as the religiously prescribed head covering, though some sources describe Jews wearing it around their necks. Experts say Jews across the Middle East wore sudras, likely before the Middle Ages, with styles varying by region and period.
From the Middle Ages into the modern era, Jews in the Middle East, classified as dhimmis, sometimes faced legal restrictions on dress. One notable prohibition during certain periods was the wearing of a headscarf or turban by Jews, including the sudra.
“This form of headgear by Jewish men was not tolerated in many communities,” said Gillian Vogelsang-Eastwood, a textile historian specializing in Middle Eastern dress. “Men could wear the kippah, but nothing significant in public on the head.”
Over time, she said, those constraints contributed to the fading of the custom.
“For me, it’s about reviving an aspect of our culture that was beaten out of us by force,” said Rochman. “It’s not like we consciously made a decision. ‘Hey, we want to stop wearing sudras.’ We were forced to stop wearing it.”
Historically, sudras did not usually feature identifiably Jewish symbols. The Kurdish sudra is an exception, incorporating circles and dots with religious meaning. Even in Rochman’s own family photos, his ancestors typically wore plain white sudras.
Rochman, however, has deliberately added Jewish symbols to make the garment legibly Jewish to contemporary eyes.
Rochman sells sudras in various colors, including a black and white version that looks exceptionally similar to the Palestinian version of the kaffiyeh. Instead of the pattern of zig-zag stripes and criss-crossed squares that can be found on that kaffiyeh, Rochman’s sudra has stars of David juxtaposed to create a similar checkered pattern, as well as Jewish symbols like the menorah, along with the phrase Am Yisrael Chai.
The resemblance to the kaffiyeh is not accidental.
The kaffiyeh is widely seen today as a symbol of Palestinian identity and resistance, but it did not always carry that meaning.
According to Vogelsang, “The kaffiyeh is basically regarded as a 19th-century development worn by farmers in Syria,” she said. “The Jordanian army later adopted it as part of their uniforms.”
Vogelsang says its political symbolism developed in the 20th century, particularly through its association with Palestinian nationalism and figures such as PLO leader Yasser Arafat, who popularized the black-and-white kaffiyeh widely worn today.
Some say the patterns on the Palestinian black-and-white kaffiyeh represent different aspects of Palestinian culture. The criss-cross lines represent the Palestinian ties to the Mediterranean Sea because of their resemblance to fishnets; the black stripes symbolize trade routes through Palestine; and the curved lines are said to symbolize olive trees.
But Vogelsang and other experts say that this symbolism is a modern interpretation of older patterns. “They didn’t have these meanings. The Palestinian community has given them these meanings,” she said.
Patterns like checks and stripes were often used for garments in the Middle East, not because of any particular symbolism, but because “they are just an easy, convenient design to make,” said Vogelsang. Both Jews and Muslims used whichever fabrics were locally available, often checkered and striped patterns commonly associated with the modern-day kaffiyeh.
In a similar way, Rochman’s sudra takes on explicit political meaning through the inclusion of the phrase Am Yisrael Chai, popularized in the 1960s as a rallying cry for Soviet Jewry and now widely used at pro-Israel demonstrations. In that sense, his garment does not just revive a historical practice, but imbues it with ideological significance.
“Being a Zionist outwardly was kind of seen as excessive before Oct. 7, but after Oct. 7 it became something that was cool again,” Rochman said, adding that interest in — and sales of — his sudras increased following the attacks and the war in Gaza that followed.
I asked Rochman if he’s ever worried about being mistaken for wearing a kaffiyeh or accused of cultural appropriation. Dozens of Reddit threads are dedicated to the topic online. In the Jubilee video, one Palestinian activist tells him, “Are you going to pretend that the kaffiyeh you’re wearing is not a culturally appropriated kaffiyeh? And you just added the Hebrew and all of that to it.”
But he is not particularly bothered by either accusation.
“I look at it as just an opportunity to tell that person, whether a Jew or not a Jew, that doesn’t know anything about a part of Jewish culture, who we are and what we are.”
And while Rochman’s main goal is to help younger generations of Jews understand a part of their history that has faded, he hopes that more Jews wearing the sudra will also foster a greater understanding of Jewish history in the Middle East.
“We need to know where we’re from,” Rochman said. “And if it helps us connect with other Middle Eastern peoples, that’s amazing too.”
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