Category: The Arts
According to a Vulture article, Comenos then put together a squad of researchers in India to do the same thing: comb the trashiest ends of the web for iffy tweets, racial slurs and ill-advised sexts sent by about 27,000 prominent figures. These are then fed to a team of data specialists in Boston who crunch the numbers, based on 224 factors, and generate a “risk score” out of 100 for each person to gauge how close they are to getting permanently cancelled (shamed, rejected or boycotted for offensive behaviour or language).
Comenos’s company is called SpottedRisk: a “disgrace insurer” backed by Lloyds of London and touting for business from studios and brands badly burned by a celebrity shooting themselves in the foot – and damaging whatever project they were involved in. These losses have been substantial. Tiger Woods’ 2009 car crash, plus revelations about his infidelities, cost him $22m in brand contracts – and the shareholders of those brands up to $12bn. Meanwhile,#MeToo has escalated Hollywood blacklisting. After sexual abuse allegations against Kevin Spacey in 2017, Ridley Scott reshot the thriller All the Money in the World with Christopher Plummer in Spacey’s role – at a cost of $10m. Another Spacey movie, The Billionaire’s Boys Club, ploughed on with its planned release regardless of increasing public disgust at its star. It made £98 on its opening night.
SpottedRisk says its payout for Spacey would be about $8m – a number generated by combining his risk score with its “outcry index” to gauge public reaction. Bill Cosby and Harvey Weinstein would merit $10m payouts, while Roseanne Barr is relatively small change at $6m.
Here is the full Catherine Shoard article, via Michael, note that Donald Trump and R. Kelly are considered “uninsurable.”
Here is the transcript and audio, here is the summary:
Masha joined Tyler in New York City to answer his many questions about Russia: why was Soviet mathematics so good? What was it like meeting with Putin? Why are Russian friendships so intense? Are Russian women as strong as the stereotype suggests — and why do they all have the same few names? Is Russia more hostile to LGBT rights than other autocracies? Why did Garry Kasparov fail to make a dent in Russian politics? What did The Americans get right that Chernobyl missed? And what’s a good place to eat Russian food in Manhattan?
Here is excerpt:
COWEN: Why has Russia basically never been a free country?
GESSEN: Most countries have a history of never having been free countries until they become free countries.
COWEN: But Russia has been next to some semifree countries. It’s a European nation, right? It’s been a part of European intellectual life for many centuries, and yet, with the possible exception of parts of the ’90s, it seems it’s never come very close to being an ongoing democracy with some version of free speech. Why isn’t it like, say, Sweden?
GESSEN: [laughs] Why isn’t Russia like . . . I tend to read Russian history a little bit differently in the sense that I don’t think it’s a continuous history of unfreedom. I think that Russia was like a lot of other countries, a lot of empires, in being a tyranny up until the early 20th century. Then Russia had something that no other country has had, which is the longest totalitarian experiment in history. That’s a 20th-century phenomenon that has a very specific set of conditions.
I don’t read Russian history as this history of Russians always want a strong hand, which is a very traditional way of looking at it. I think that Russia, at breaking points when it could have developed a democracy or a semidemocracy, actually started this totalitarian experiment. And what we’re looking at now is the aftermath of the totalitarian experiment.
GESSEN: …I thought Americans were absurd. They will say hello to you in the street for no reason. Yeah, I found them very unreasonably friendly.
I think that there’s a kind of grumpy and dark culture in Russia. Russians certainly have a lot of discernment in the fine shades of misery. If you ask a Russian how they are, they will not cheerfully respond by saying they’re great. If they’re miserable, they might actually share that with you in some detail.
There’s no shame in being miserable in Russia. There’s, in fact, a lot of validation. Read a Russian novel. You’ll find it all in there. We really are connoisseurs of depression.
Finally there was the segment starting with this:
COWEN: I have so many questions about Russia proper. Let me start with one. Why is it that Russians seem to purge their own friends so often? The standing joke being the Russian word for “friend” is “future enemy.” There’s a sense of loyalty cycles, where you have to reach a certain bar of being loyal or otherwise you’re purged.
Venice’s adoption of these Renaissance styles was itself a remarkable break with the past, for the Venetians had always favored the sophisticated East when it came to artistic expression. But times were changing. The flame of Byzantium was flickering and even Venice turned its attention to the Western terra firma. Among the earliest Renaissance artists in Venice was Jacopo Bellini. The son of a Venetian tinsmith, Bellini worked under Gentile da Fabriano, who produced various now-lost works for the Great Council in 1408. Bellini accompanied his master to Florence, where he remained for some years learning the new artistic techniques pioneered there. Later, Bellini traveled to Bruges, where he was introduced to the use of oil paints on canvas — a medium that would forever change Venice.
The seat of high culture in fifteenth-century Venice was not at the governmental center, but in its outskirts at Padua. There, since 1222, a university had flourished that drew the best minds in Europe and provided an excellent education for Venice’s elite. After returning to Venice, Bellini set up shop in Padua with his two sons, Gentile and Giovanni. They were likely influenced by the arrival in 1443 of Donatello, who lived in Padua for about a decade. His masterwork during those years was the equestrian statue of the condottiere Erasmo da Narni…This magnificent life-size bronze was the first such statue produced since the days of ancient Rome.
That is from Thomas F. Madden, Venice: A New History.
1. Favorite playwright: Carlo Goldoni, eighteenth century, best if you can see one rather than try to read it.
2. Play, set in: William Shakespeare, Merchant of Venice. Read it carefully and repeatedly, it is far subtler on issues of racism and prejudice than you might have been expecting.
3. Opera, set in: Verdi’s Otello (James Levine recording). Even as a dramatic work I (perhaps oddly) prefer this to Shakespeare’s play.
4. Memoir, set in: Casanova, though I suggest you read an abridged edition. I strongly recommend reading Marco Polo as well, though I am not sure that counts as a “memoir.”
5. Short story, set in: Thomas Mann, “Death in Venice.” But a close runner-up is Henry James, “The Aspern Papers.”
Are you getting the picture? Venice has inspired numerous major writers and artists. However I don’t love John Ruskin on Venice.
6. Painting: Ah! Where to start? I’ll opt for Giorgione’s The Tempest, or any number of late Titian works. And there are so many runners-up, starting with Veronese, Tintoretto, the Bellinis, and later Tiepolo. Even a painter as good as Sebastiano del Piombo is pretty far down the list here. Canaletto bores me, though the technique is impressive.
8. Composer: I can’t quite bring myself to count Monteverdi as Venetian, so that leaves me with Luigi Nono and also Gabrieli and Albioni and Vivaldi, none of whom I enjoy listening to.
10. Photographer of: Derek Parfit, here are some images.
11. Movie, set in: I can recall the fun Casino Royale James Bond scene, but surely there is a better selection attached to a better movie. What might that be?
11. Maxim about: Pope Gregory XIII: “I am pope everywhere except in Venice.”
All in all, not bad for a city that nowadays has no more than 60,000 residents and was never especially large.
I’ll be there in a few days time.
That is the topic of my latest Bloomberg column, and they chose an excellent photo to go with it. Excerpt:
A lot of current clothing innovations focus on gimmicks. There is a “Social Escape Dress,” which can “emit a cloud of fog when the wearer is feeling stressed.” Maybe that is fun, but what economic problem does it solve? And won’t it stress the wearer more? I suspect that the more durable clothing innovations will be more practical.
The first major practical problem is that clothes have to be cleaned, a time-consuming and sometimes expensive process. To remedy this problem, imagine a futuristic closet with cleaning and dry-cleaning functions (the materials of the clothes themselves could evolve to make this easier and less dangerous). A wardrobe system that cleans itself would be a big plus for many people. While I don’t see this technological advance as imminent, neither do I see it as unreachable.
A second major problem with clothes is that they have to be stored. Urban space is currently quite scarce and expensive, a reality unlikely to change anytime soon. Easily foldable and contractible clothes and shoes will therefore be at a premium, but of course the question is how to get them back into proper shape with a minimum amount of effort. That again suggests a home device — far more efficient than the iron — to get clothes into proper shape, which in turn will allow for more clothes to be rolled up and put away. Cleaning your clothes and storing your clothes are closely related problems, and in my optimistic vision they will be solved together.
Another source of big welfare gains could be quite prosaic:
At the upper end of the market, it is possible to make exclusive fashion more affordable, while still looking great. In a given fashion season the number of “in” styles could continue to expand, through the use of social media such as Instagram. That makes the market more competitive. Indeed it is already a trend that you can look “cool” and sophisticated without having to buy the most expensive dress from Milan or Paris. More market niches allow for the production of more reputation and glamour.
There is much more at the link.
Here is the audio and transcript. We covered Ghana, Africa more generally, cosmopolitanism and the resurgence of nationalism, philosophy and Karl Popper, Lee Kuan Yew, the repatriation of cultural objects, Paul Simon, the smarts of Jodie Foster, sheep farming in New Jersey, and the value of giving personal advice.
Here is one excerpt:
COWEN: Take Pan-Africanism. Do you think, in the broader course of history, this will go down as merely a 20th-century idea? Or is Pan-Africanism alive and well today?
APPIAH: Pan-Africanism involves two different big strands. One is the diasporic strand. The word Pan-Africanism and the Pan-African Congresses were invented in the diaspora by people like Sylvester Williams in Jamaica and W. E. B. Du Bois from the United States and Padmore.
That idea of a diasporic African identity seems pretty lively in the world today, though it doesn’t produce much actual politics or policy, but the sense of solidarity of people of African descent, of the African diaspora seems pretty strong to me.
COWEN: But strongest outside of Africa in a way, right?
APPIAH: Yes, where it began. In Africa, I think, on the one hand, that most contemporary sub-Saharan Africans do have a sense of themselves as belonging to a kind of Black African world. But if you ask them to do something practical about it, like take down borders or do more political integration, I don’t know that that is going to go anywhere anytime soon, which I regret because I think, for lots of reasons, it would be . . .
My sister and her husband live in Lagos. If they want to go to Accra by road, they have to cross the border between Nigeria and Benin, the border between Benin and Togo, the border between Togo and Ghana. And at each of those borders, they probably have to interact with people who are going to try and extract an illegal tax on them.
COWEN: Easier to fly to London, right?
APPIAH: Much easier to fly to London and back to Accra. That’s crazy. And we’ve had these weird things. On the one hand, there’s probably a million Ghanaians in Nigeria, living Ghanaian citizens.
COWEN: Is cosmopolitanism not only compatible with nationalism, but in a way quite parasitic upon it? And in a sense, the parasite is being ejected a bit? Think back to your boyhood in Kumasi. You have all these different groups, and you’re trading with them. You see them every day, and that works great, but there’s some central coherence to Ghana underlying that.
You go to Lebanon today — that central coherence seems to have been gone for some time. You could call Lebanon a cosmopolitan place, but it’s not really an advertisement for Lebanon the way it’s worked out. Are we just moving to a new equilibrium, where the parasitism of cosmopolitanism is now being recognized for what it really is?
APPIAH: I don’t like the metaphor of the parasite.
APPIAH: But yes, I do want to insist that cosmopolitanism . . . Look, cosmopolitanism, as I said, does not only require, or the right kind of cosmopolitan requires a kind of rootedness, but its point, precisely, is that we are celebrating connections among different places, each of which is rooted in its own something, each of which has its distinctive virtues and interest, each of which has its own history. And we’re making connections with people for whom that place is their first place, just as I am in a place which is my first place.
So yes, cosmopolitanism requires, I think, a national sense of solidarities that are not global. That’s why, as I say, you can be a cosmopolitan patriot. Now, if the nationalist says, “Okay, but why do we need anything beyond national citizenship?” The answer is, we have a world to manage. The economy works better if we integrate.
There is much, much more at the link, self-recommending…
Interesting and excellent throughout, here is the audio and transcript. Eric is political scientist at Birkbeck College in London and the author of the recent Whiteshift: Populism, Immigration, and the Future of White Majorities. Here is part of the opening summary:
Kauffman’s latest book Whiteshift, which examines how declining white ethnic majorities will respond to these changes, is on Tyler’s list as one of the best books of the year. The two discuss the book and more, including Orangeism in Northern Ireland, Switzerland’s secret for stability, what Tocqueville got most wrong about America, predictions on Brexit’s final form, why Portugal seems immune from populism, how Notre Dame should be rebuilt, whether the Amish — or Mormons — will take over the world, and much more.
Here is one excerpt:
KAUFMANN: The gradient between very conservative and sort of secular and liberal is not as strong in Islam as it is in Judaism or Christianity, but it’s about a twice higher fertility for women who are most in favor of Sharia compared to those who are most opposed to Sharia, in the cities. So I do think there is also this dynamic within Islam, yes.
COWEN: If we look at a country such as Iran, which now has a very low total fertility rate, is that a sign they’re not actually very religious? Or there’s something unusual about religion in Iran? What accounts for that?
COWEN: Which group of French Muslims has assimilated most successfully and why?
KAUFMANN: Well, the outmarriage rate is almost 50 percent for French Algerian men, but even across the Franco-Algerian community, I think it’s in the 40 to 50 percent outmarriage —
COWEN: And they’re marrying ethnically white French women?
KAUFMANN: Right, or men. I think part of this stems from Algeria in its history. You have a large Berber population in Algeria, many of whom are anti the regime. They’re anti the Arab-Islamist regime. So they’re actually quite secular in many ways.
That’s part of it, but even amongst the Moroccans in France, there’s quite a high outmarriage rate of like 40 percent. So yeah, the French Muslims do seem to be melting in better than Muslims even of the same ethnicity. Compared to Moroccans in the Netherlands, for example, there’s a much higher outmarriage in France.
COWEN: And that’s the Berber factor, in your view?
KAUFMANN: I think it is the Berber factor. I don’t think there’s anything magical that the French are doing that the Dutch are not in terms of integration policy. I think too much is made of that.
COWEN: What’s the most plausible scenario for Irish reunification?
KAUFMANN: I think the most plausible scenario is that Northern Ireland Protestants don’t have the same hostility to the Republic that they have traditionally had, so maybe a kind of charm offensive.
In a way, the unionist population is the one they have to win over. They are kind of foursquare against reunification. Somehow, the Irish Republic has to find a way to reassure them. That’s going to be the ticket to reunification, but it’ll never really happen just through economic integration. I think there’s got to be something symbolic that will win over the unionists.
COWEN: So there’ll be more of a turn against immigration?
COWEN: In Canada.
KAUFMANN: Yes, and immigration attitudes are now very different, depending if you’re a Conservative or a Liberal voter. That didn’t use to be the case even five years ago, so there is more of a politicization of that issue now.
Recommended, and I found all of Eric’s books very interesting as well.
I haven’t been in ages, so please tell me what to do. I will be there soon. I thank you all in advance for the usual wisdom and sage counsel.
I will be doing a Conversations with Tyler with her, no associated public event. What should I ask her? As always, I thank you all for your wisdom and counsel.
I will be doing a Conversations with Tyler with her, no associated public event. Here is part of her Wikipedia page:
Robbins is a noted expert in the field of nineteenth-century African American literature and recently co-edited with Henry Louis Gates, Jr. an anthology of African American women’s writing. Robbins’ work focuses primarily on nineteenth and early twentieth century black print culture; she is affiliated with the Black Press Research Collective and serves as an advisor to the Black Periodical Literature Project at the W.E.B. Du Bois Institute at Harvard University.
…Previously, Robbins edited several other books with Henry Louis Gates, Jr., including The Annotated Uncle Tom’s Cabin (2006) and In Search of Hannah Crafts: Essays on The Bondwoman’s Narrative (2003). She also co-edited The Works of William Wells Brown (2006) with Paula Garrett and an edition of Frances E.W. Harper’s 1892 novel Iola Leroy.
In addition to now being Dean at Sonoma State University, she also has written on film music, the history of post offices, the gold rush, higher education, African-American sonnets, and numerous other topics. So what should I ask her?
Maybe it is only the “major” cities that are becoming more alike. If so, what is “major” supposed to mean? Among the more populous cities I have visited are Lagos, Tokyo, Mexico City, Delhi, Sao Paulo, Shanghai and Cairo. I can find very real similarities among their gyms, coffee shops, hotels and smart phones used by the locals. Still, it is hard to argue they are converging on some common set of experiences or cultural memes. Those cities show different movies (for the most part), play different kinds of music in public spaces, serve different dominant cuisines, exhibit different modes of personal dress, and of course speak different languages.
Even central London and central Manhattan have fundamental differences, and that is without bringing Harlem or East Harlem into it. I almost always feel pleasant and relaxed walking around London. In central Manhattan, I often feel a bit stressed. I go to Manhattan to hear jazz, to visit contemporary art galleries, to soak up the energy of the streets. When I am in London (less frequently), I visit well-stocked bookshops, eat Indian food, and absorb a very different vision of government and politics.
To be blunt, if the two cities are so similar, why do I much prefer spending time in London?
…More than ever before, London and New York offer more good ways of having different experiences.
There is much more at the link, hearkening back to my earlier book Creative Destruction: How Globalization is Changing the World’s Cultures.
Chernobyl, HBO’s taut 5-part mini-series, is excellent and it sticks close to the facts (although one female character played by Emily Watson is clearly made up). By all accounts, the series accurately represents life in the former Soviet Union and through a variety of means from color palette to casting and dialogue it does a remarkable job at capturing the political economy. One thing I learned (so far, it hasn’t all appeared yet) is that it could have been much, much worse but the Russians avoided the worst scenario with a combination of bravery, smarts and luck.
The number of cancer deaths from Chernobyl appears to be quite low. The WHO estimated an additional 9,335 deaths with about half of those coming from workers and nearby residents and other half more distant impacts, other estimates are higher. More recent analysis, however, suggests that Chernobyl and its aftermath had relatively small but significant effects across a large number of people. Here are two recent papers:
Chernobyl’s Subclinical Legacy: Prenatal Exposure to Radioactive Fallout and School Outcomes in Sweden by Almond, Edlund and Palme.
Abstract: We use prenatal exposure to Chernobyl fallout in Sweden as a natural experiment inducing variation in cognitive ability. Students born in regions of Sweden with higher fallout performed worse in secondary school, in mathematics in particular. Damage is accentuated within families (i.e., siblings comparison) and among children born to parents with low education. In contrast, we detect no corresponding damage to health outcomes. To the extent that parents responded to the cognitive endowment, we infer that parental investments reinforced the initial Chernobyl damage. From a public health perspective, our findings suggest that cognitive ability is compromised at radiation doses currently considered harmless.
and The long-run consequences of Chernobyl: Evidence on subjective well-being, mental health and welfare by Danzer and Danzer.
Abstract: This paper assesses the long-run toll taken by a large-scale technological disaster on welfare, well-being and mental health. We estimate the causal effect of the 1986 Chernobyl catastrophe after 20 years by linking geographic variation in radioactive fallout to respondents of a nationally representative survey in Ukraine according to their place of residence in 1986. We exclude individuals who were exposed to high levels of radiation—about 4% of the population. Instead, we focus on the remaining majority of Ukrainians who received subclinical radiation doses; we find large and persistent psychological effects of this nuclear disaster. Affected individuals exhibit poorer subjective well-being, higher depression rates and lower subjective survival probabilities; they rely more on governmental transfers as source of subsistence. We estimate the aggregate annual welfare loss at 2–6% of Ukraine’s GDP highlighting previously ignored externalities of large-scale catastrophes.
Hat tip: Jennifer Doleac and Wojtek Kopczuk.
The Persistence of Chaos is an Airgapped Samsung 10.2-Inch Blue Netbook (2008) that is running Windows XP SP3 and 6 pieces of malware that collectively caused some $95 billion in damages. One of the worms trapped on the computer, for example, is:
SoBig was a worm and trojan that circulated through emails as viral spam. This piece of malware could copy files, email itself to others, and could damage computer software/hardware. This piece of malware caused $37B in damages and affected hundreds of thousands of PCs.
The terms of sale include the following:
The sale of malware for operational purposes is illegal in the United States. As a buyer you recognize that this work represents a potential security hazard. By submitting a bid you agree and acknowledge that you’re purchasing this work as a piece of art or for academic reasons, and have no intention of disseminating any malware. Upon the conclusion of this auction and before the artwork is shipped, the computer’s internet capabilities and available ports will be functionally disabled.
The current high bid is over $1,200,750.
Hat tip: Paul Kedrosky.
That is the new book by David Epstein, the author of the excellent The Sports Gene. I sometimes say that generalists are the most specialized people of them all, so specialized they can’t in fact do anything. Except make observations of that nature. Excerpt:
In an impressively insightful image, Tetlock described the very best forecasters as foxes with dragonfly eyes. Dragonfly eyes are composed of tens of thousands of lenses, each with a different perspective, which are then synthesized in the dragonfly’s brain.
I am not sure Epstein figures out what a generalist really is (and how does a generalist differ from a polymath, by the way?), but this book is the best place to start for thinking about the relevant issues.
A rose painted by another name would cost more. In a new paper*, four academics show that art made by women sells for lower prices at auction than men’s, and suggest that this discount has nothing to do with talent or thematic choices. It is solely because the artists are female.
The authors used a sample of 1.9m transactions in art auctions across 49 countries in the period from 1970 to 2016. They found that art made by women sold at an average discount of 42% compared with works by men. However, auction prices can be distorted by a few famous artists whose output is perceived as extremely valuable. If transactions above $1m are excluded, then the discount falls to 19%.
…the researchers used a computer programme to generate paintings and randomly assign the results to artists with male or female names. They then asked participants to rate the paintings and ascribe a value. The experiment found that affluent individuals (those most likely to bid at auctions) attributed a lower value to works which the programme assigned to a woman. Clearly, this gap was unrelated to the artistic merit of the picture.
I don’t quite think that shows (non-statistical) discrimination, perhaps more convincing is this:
The average discount applied to the work of a given female artist was lowest in countries where women were more equal. (There are some exceptions to the rule, such as Brazil, where women’s art was highly rated.)
The good news is that the female discount has fallen over time. For transactions under $1m, the study calculated, the discount has dropped from 33% in the 1970s to 8% after 2010.
If you not wealthy and wish to collect art, buy textiles, they are much cheaper and very often the creators are women rather than men. They are not as a whole less aesthetically valuable than paintings, except perhaps for paintings at the very very highest levels. But within painting, prices for Gwen John vs. Augustus John have been in parity for some while now, same with Frida Kahlo and her male contemporaries, or Natalia Goncharova vs. her peers, the latter I check on a regular basis in fact I was just perusing them today.
Here is The Economist source piece. Here is the original research., “Is gender in the eye of the beholder? Identifying cultural attitudes with art auction prices”, by Renée Adams, Roman Kräussl, Marco Navone and Patrick Verwijmeren.