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A Rube Goldberg machine comes to life — literally — in a new dance piece
(New York Jewish Week) — Are we humans all parts of a meticulously crafted machine? Or are we independent beings, chaotically disrupting one another’s trajectories through time and space? Is there a difference between intentional and unintentional impact? Does it matter whether our movements are prompted by internal or external forces?
These are just some of the questions that surfaced as I watched footage of “Rube G. — the Consequence of Action,” a new work by acclaimed New York-based choreographer and dancer Jody Oberfelder. The piece — at once whimsical and thoughtful — explores the mechanical motions inherent in a classic “Rube Goldberg machine” (a chain-reaction contraption that typically involves levers swinging, cogs twirling, bits and bobs knocking each other on predetermined courses) as expressed through the human form.
Over four years in the making, the piece will make its debut March 4 at the Agnes Varis Performing Arts Center in Lower Manhattan. It will be performed for three consecutive weekends, culminating in a gala event on March 19.
The genesis of this 50-minute piece began four years ago, when musician Frank London of The Klezmatics was organizing an event celebrating 15 Jewish thinkers and creators — from philosopher Hannah Arendt to composer Morton Feldman — at the New York Public Library. Oberfelder, a director, choreographer and filmmaker dedicated to site-specific works that “expand how one experiences dance,” was invited to create a piece inspired by the work of Rube Goldberg (1883-1970), the Jewish cartoonist who drew his eponymous machines starting with Collier’s Weekly magazine in 1929. According to the Rube Goldberg Institute for Innovation and Creativity, these machines “solve simple problems in the most ridiculously inefficient way possible.” A classic example is the “Self Operating Napkin,” which wipes an eater’s face by using a combination of strings, counterweights and even a scythe.
Oberfelder was intrigued and, initially, a bit surprised by the assignment. “[Frank] said, ‘God, you’re Rube Goldberg! This is perfect for you!’ But it wasn’t until I started going deeply into research that I realized [he was right],” Oberfelder told the New York Jewish Week.
Oberfeld has had a long and illustrious career: She’s danced with and for the likes of composer Meredith Monk and choreographer Sally Silvers, and has traveled the world as a performer, guest choreographer and lecturer, from the University of Hawaii to London’s Victoria and Albert Museum. Still, this new prompt captivated her. “I realized we’ve been living the Rube Goldberg life all along,” she said, referencing the ways in which people are all tied together, an intricate array of human cogs. Soon, she was hooked on the ideas behind Goldberg’s fanciful genius.
An iconic Rube Goldberg cartoon, the “Self Operating Napkin,” was featured on a U.S. postal stamp honoring the cartoonist. (Rube Goldberg Inc.)
The resulting piece for the NYPL event was, according to Oberfelder, “a four-minute blast” that explores this idea. “We were running through the audience,” she told me, remembering that first dive into the world of order and chaos that is Goldberg’s philosophy. “[It seems like] a whole lot of something for nothing. But it is something — the joy of the moment to moment, while a marble is rolling down a slide, knowing that it [was there] and it worked.”
After that initial performance, Oberfelder wanted to explore more but, of course, the pandemic soon swept away any performance plans. Inventive as ever, she took the ideas she’d workshopped for London and created a second iteration: a film that combined over 300 clips of dancers responding to prompts like “spin” and “pop up.” Dancers and laypeople the world over, despite the social isolation, came together into a global Rube Goldberg machine.
Eventually, as COVID-19 restrictions lifted and the world began to open up, she took her new understanding of the themes and translated the film into a site-specific work that showed at Roulette, a Brooklyn theater, in 2021. That work was really the proto version of this newest take. It had the playfulness, the fun, the tumbling, the twirling. It wasn’t quite there, though. Not yet.
The piece explores big questions, including, as Oberfeld said: “What would a Rube Goldberg machine look like if it was performed by humans?” (Courtesy)
With “Rube G. — the Consequence of Action,” Oberfelder digs even deeper into her big idea — that everything we do is both influenced by others and influences others in both predictable and unforeseeable ways. To her, this idea has a philosophical connection to Judaism: “Everything here on earth happens and [it’s our lot] to live it to the fullest,” she said, adding that “the way in which we help each other along” is part of a Jewish ethos.
In the current iteration, four performers (including, briefly, Oberfelder herself) move in the space with a curious mix of clumsy and graceful motions. They are the machine — pushing, pulling, whirling in tandem — but their gestures seem, at times, independently determined. Are we all simply reacting to the actions of our peers? I wondered, as I watched one dancer dribble another one across the space like a basketball. Or do we have a choice in the matter?
While the dancers on stage explore the relationship one human has with another, a wild card, in the form of improvised audience participation, is added to the mix. Viewers who attend a performance of “Rube G. — the Consequence of Action,” may, at times, be called to interact with and define the direction of the piece. This element of the unknown will be folded into a meticulously planned piece which, like a Goldberg Machine, has a zillion moving parts that all seem random but somehow fall perfectly into place.
“During COVID, I got to a point where I was really analyzing the nature of performance and what I missed about it,” Oberfelder said. “What I felt was lacking was the effervescence of people coming together with different ideas to present something new…. I’ve tried to create an environment where we’re all here.” To Oberfelder, “all of us” includes the audience — and maybe people everywhere, too.
“It’s sort of like singing in the shower,” she added. “It’s nice, and it’s a great release. But actually, I would like these vibrations to go past my bathroom walls.” To that end, she’s brought her work to a simple space (“it’s just a big white box studio with very simple lighting”) and is welcoming audience members into the dance. As a result, each performance will be one-of-a-kind.
“What would a Rube Goldberg machine look like if it was performed by humans?” Oberfelder wondered aloud when we spoke, mulling over the various possible iterations. Now is our chance to find out.
“Rube G. — the Consequence of Action,” will be performed at The Agnes Varis Performing Arts Center, inside the Gibney Dance Center, at 280 Broadway on March 4-5, March 11-12 and March 18 at 7:30 p.m. A gala performance will be held on March 19 at 6:30 p.m. and will include post-performance food, drinks and a live auction. For tickets (from $15) and info, click here.
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The post A Rube Goldberg machine comes to life — literally — in a new dance piece appeared first on Jewish Telegraphic Agency.
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Greta Thunberg Released From Custody After Arrest at UK Anti-Israel Protest
Swedish activist Greta Thunberg speaks to a police officer during a pro-Palestinian protest as she holds a sign that says she supports prisoners linked to Palestine Action, an organization which the British government has proscribed as a terrorist group, in London, Britain, Dec. 23, 2025. Photo: Prisoners for Palestine/Handout via REUTERS
Swedish activist Greta Thunberg was released from custody after being arrested on Tuesday in London at an anti-Israel protest, police said.
UK-based campaign group Prisoners for Palestine said Thunberg was earlier arrested under the Terrorism Act for holding a sign that said “I support the Palestine Action prisoners. I oppose genocide.” The British government has proscribed Palestine Action as a terrorist group.
City of London Police said Thunberg had been bailed until March.
Police said earlier two other people had been arrested for throwing red paint at a building. A spokesperson said 22-year-old woman later attended the scene and was arrested for displaying a placard in support of a proscribed organization.
Prisoners for Palestine, which supports some detained activists who have gone on hunger strike, said the building had been targeted because it was used by an insurance firm which they said provided services to the British arm of Israeli defense firm Elbit Systems.
The insurance company did not immediately respond to a request for comment.
Thunberg, 22, became prominent after staging weekly climate protests in front of the Swedish parliament in 2018.
Last year, she was cleared of a public order offense in Britain as a judge ruled police had no power to arrest her and others at a protest in London the year before.
She was detained along with 478 people and expelled by Israel in October after joining an activist convoy of vessels, the Global Sumud Flotilla, that attempted to breach Israel’s blockade of Gaza. Israel has consistently denied genocide allegations, noting it has targeted Hamas terrorists with its military campaign and taken measures to try and avoid civilian casualties.
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When Famine Vanished: How the Media Repeated a Claim, and Never Reckoned With Its Collapse
Trucks carrying humanitarian aid and fuel line up at the crossing into the Gaza Strip at the Rafah border on the Egypt side, amid a ceasefire between Israel and Hamas in Gaza, in Rafah, Egypt, October 17, 2025. Photo: REUTERS/Stringer
CNN delivered the update quietly and inaccurately, with much less gravity than it once used to amplify the warning.
“Gaza no longer in famine,” read a CNN post, citing a UN-backed hunger monitor.
Reuters and the Associated Press followed with similar headlines.
What is striking is not that the unreliable IPC, which has been criticized in the past for faulty methodology, revised its assessment.
What’s really upsetting is that much of the press treated the reversal as a weather update, not as a reckoning.
Only months earlier, these same institutions helped cement a very different narrative.
In late July 2025, UN agencies issued a high-profile warning that key indicators in Gaza exceeded famine thresholds, citing IPC data and describing hundreds of thousands facing famine-like conditions. The IPC alert itself stated that famine thresholds had been reached for food consumption in most of Gaza and for acute malnutrition in Gaza City.
In August 2025, the Food and Agriculture Organization of the United Nations (FAO) announced that famine was confirmed for the first time in Gaza, again anchored to IPC assessments.
Those claims ricocheted through global media coverage with little visible skepticism about methodology, access constraints, or incentives baked into a wartime information environment.
The result was a widely accepted narrative that Israel was causing famine, a narrative that shaped diplomatic pressure and public outrage long before the data could be stress tested.
Now the IPC’s latest assessment says no area has ever been in famine, attributing improvements to increased humanitarian and commercial food deliveries after the ceasefire, while warning that the situation remains fragile and could deteriorate again if access is disrupted or fighting resumes.
IPC’s latest fraudulent Gaza report implies 1,700+ starvation deaths this December 2025—even TODAY we should see 57 such deaths! But even Hamas reports only 475 total starvation deaths for the ENTIRE WAR. The math exposes how detached from reality all these models are. 1/ pic.twitter.com/wOvIohWTt2
— Aizenberg (@Aizenberg55) December 19, 2025
The AP at least gestured to the whiplash, noting that months earlier, the IPC said famine was occurring in Gaza City and was likely to spread without a ceasefire and an end to restrictions.
Reuters likewise framed the change as a shift from earlier IPC findings, while stressing continued emergency-level needs. But what was largely missing was the one ingredient journalism owes the public when an apocalyptic claim collapses or is materially revised: responsibility.
No media outlet interrogated the underlying assumptions when famine warnings were treated as settled fact. None explained what changed in the inputs and thresholds. None revisited the earlier certainty with the same prominence as the original alarm.
This matters because narratives do not stay on paper.
In the United States, the ADL has reported that anger at Israel during the war has been a driving force behind antisemitism, underscoring how the information ecosystem around Gaza can translate into real-world hostility toward Jews. When famine claims are amplified uncritically, they do not just inform. They inflame.
The new UN-backed update does not erase Gaza’s suffering, and it does not vindicate anyone’s politics. It does, however, expose a core media failure: outsourcing verification to a single authoritative label, and then moving on when the label changes.
If famine was once a front-page certainty, the correction cannot be a footnote.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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US Heritage Foundation Think Tank Staff Quit Amid Antisemitism Controversy
The Heritage Foundation’s logo is displayed during the 2025 Joseph Story Distinguished Lecture in Washington, DC, US, Oct. 22, 2025. Photo: REUTERS/Kylie Cooper
Over a dozen employees have left jobs at the Heritage Foundation or were fired in recent days, according to the influential right-wing US think tank, as it grapples with allegations from former supporters that it has aligned itself with those accused of antisemitism.
In a statement about the resignations and firings on Monday, Heritage Foundation chief advancement officer Andy Olivastro said a handful of staff had chosen “disruption” and “disloyalty.”
He said the think tank “has always welcomed debate, but alignment on mission and loyalty to the institution are non-negotiable.”
The foundation has been caught in a firestorm of accusations and counter-accusations that began when former Fox News host Tucker Carlson interviewed Nick Fuentes, a self-described Christian nationalist, in October. The interview focused on their mutual opposition to US support of Israel, a view at odds with that of many conservatives.
Some supporters of the foundation have said it should distance itself from Carlson, characterizing the journalist’s views as antisemitic. But Kevin Roberts, the foundation president, has continued to personally back Carlson, who he says is a friend. Carlson strongly rejects accusations of antisemitism.
One of those who resigned this week was Josh Blackman, a law professor who contributed to Project 2025, a right-wing policy initiative overseen by the Heritage Foundation. In a letter posted online, he blamed Roberts for making Heritage‘s brand “toxic.”
“You aligned the Heritage Foundation with the rising tide of antisemitism on the right,” said Blackman, who edited the group’s Guide to the Constitution publication.
In an Oct. 30 video defending Carlson, Roberts said a “venomous coalition” was attacking the prominent podcaster over his interview with Fuentes. Roberts said conservatives should feel no obligation to support any foreign government no matter how great the pressure from “the globalist class.”
He later apologized for his use of the term “venomous coalition,” which he said Jewish colleagues understood to be an antisemitic trope.
Speaking at a November staff townhall meeting, Roberts said his intention was not to endorse Fuentes, who he called “an evil person,” but to “convert” some of his audience of several million people.
Advancing American Freedom said on Monday the three former leaders of Heritage‘s legal, economic, and data teams had joined the conservative advocacy group, along with 10 of their staff. The group led by former Vice President Mike Pence is critical of US President Donald Trump’s MAGA movement.
Three Heritage Foundation board trustees have also resigned since November.
Chief US Circuit Judge William Pryor, a conservative jurist who contributed to Heritage‘s 800-page Guide to the Constitution, said in an interview he did not attend a promotional event for the book due to Roberts’ “totally inappropriate” language in the Oct. 30 video.
For some remaining Heritage employees, recent staff departures were driven by Republican Party jockeying rather than antisemitism or Israel.
“These resignations have a lot more to do with 2028 than it does with anything else,” Heritage fellow Robby Starbuck posted online. “One group wants a return to the Pence/Ryan GOP and the rest want to MAGA with @KevinRobertsTX.”