Category: The Arts
Ever since I was a young teenager I loved Tom Lehrer (thanks to Ken Regan, by the way), and I thought I would re-listen to some fresh. I tried the Copenhagen concert, a good overview of his work and with good visuals. I was struck by the following:
1. Lehrer represented the IDW of his day. He said (sang) things others couldn’t, and his main enemy or target was political correctness. It surprised me to hear how little many of the battle lines have changed. Yet Lehrer, while warring against hypocritical political discourse, was in his day on the Left. (Shades of Eric Weinstein!) He worried about the “decline of the liberal consensus,” following the Kennedy era. In 1982 he wrote that he considered feminism, abortion, and affirmative action “more complicated” than the older liberal causes, so perhaps he simply did not blend into the contemporary Left (the piece is interesting more generally).
2. Lehrer’s songs (repeatedly) indicate he saw nuclear weapons and nuclear proliferation as a major problem; in that regard his time probably was wiser than ours.
3. He is very interested in language and the question of how words are used in the public sphere, and how words are used to obfuscate. Might that be the central theme in his thought?
4. He often sneaks China into the cultural references, for instance: “And I’m learning Chinese, says Werner von Braun.” He seems to think it is a much more important country than Russia, although this concert was from 1967 and often was drawing on songs which were older yet.
5. He is much more interested in math and science than current comedians, for instance his “Elements” is a classic [22:54], and redone here with an Aristotle coda, mocking The Philosopher. His audience seems to take this interest in stride. This song is yet another example of inverting what should be said, or not.
6. Yes I know the tunes sound derivative, but most of them are original. And as music…they’re a lot catchier than most of the other musical theatre of his time and I think of many of them as minor classics. I still enjoy hearing them as music. And other than Sondheim and Dylan, how many better American lyricists were there?
7. When he wants to get really gory, he doubles down on mock sadism (“Poisoning Pigeons in the Park”: “…we’ll murder them all with laughter and merriment…except for the few we take home to experiment…”). He once said: “If, after hearing my songs, just one human being is inspired to say something nasty to a friend, or perhaps to strike a loved one, it will all have been worth the while.”
It would be hard to pull this off today. Yet, when I listen to Lehrer, perhaps because I know the historical context, I am not offended. Plus he is flat-out funny. He cited losing his “nasty edge,” and starting to see things in shades of grey, as one reason for what appeared to be a quite premature retirement.
8. He wore a white shirt and his tie was tightly knotted.
9. He’s one of America’s great comics, and the material is idea-rich to a remarkable extent. He hardly ever sung about social themes or person-to-person social interactions.
10. Many of the songs of his that you never hear are in fact commentaries on various folk song movements. Circa 2018, few can understand their references, but they do showcase Lehrer’s extreme idealism.
11. He was at first a math prodigy and later in the mid-1950s, as a draftee, crunched numbers for the NSA. He remains alive and turned 90 earlier this year.
He can — and this is rare — act mind, and may be the only actor alive who could play a genius convincingly: Donne, for instance, Milton, Pope, or even Shakespeare…would be comfortably within his grasp. But he is not, and never will be a star, in the sense that Coward and Olivier are stars. Olivier, one might say, ransacks the vaults of a part with blowlamp, crowbar, and gun-powder; Guinness is the nocturnal burglar, the humble Houdini who knows the combination. He does everything by stealth. Whatever he may do in the future, eh will leave no theatrical descendants, as Gielgud will. He has illumined many a hitherto blind alley of subtlety, but blazed no trails. Irving, we read, was rapt, too: but it was a weird, thunderous raptness that shook its fist at the gods. Guinness waves away awe with a witty fingertip and deflects the impending holocaust with a shrug. His stage presence is quite without amplitude, and his face, bereft of its virtuosity of make-up, is a signless zero. His special gift is to imply the presence of little fixed ideas, gambolling about behind the deferential mask of normality. The characters he plays are injected hypodermically, not tattooed all over him; the latter is the star’s way and Guinness shrinks from it. Like Buckingham in Richard III he is “deep-resolving, witty”; the clay image on whom the witches work. An innocence, as of the womb, makes his face placid even when he plays murderers.
Whether he likes it or not (and I suspect he does), his true métier will continue to be eccentrics — men reserved, blinkered, shut off from their fellows, and obsessed. Within such minority men there is a hidden glee, an inward fanatical glow; and in their souls Guinness is at ease.
That is from Kenneth Tynan, Profiles, which is in fact a remarkable and remarkably good book.
Some good economics in Tariff Man, sung to the tune of Piano Man (with apologies to Billy Joel) by Art Carden:
Now Paul is a real estate contractor
He’d like to buy things for his wife
But he canceled a deal because structural steel’s
More expensive—it’s doubled in price!
And the firms are all practicing politics
As their businessmen fly to DC!
Yes, they’re spreading a problem called poverty,
And calling it prosperity!
Jack up that tax, you’re a Tariff Man!
Let’s make Americans pay
For the right to buy stuff from those foreigners–
We should make it here, anyway!
These policies concentrate benefits
And they spread costs to you and to me
These costs are concealed, but see, they are still real—
They are there, though they’re harder to see.
Some goods are expensive that shouldn’t be
Because tariffs have made them cost more!
And we’d have more for bars, and put bread in their jars
But we’re stopping goods at our shores!
La la la, di da da
La la, di da da da dum
Jack up that tax, you’re a Tariff Man!
Bohemian Rhapsody—you already know the plot and it’s a tad long but the music is great and Rami Malek is fabulous as Freddie Mercury. The movie culminates with a virtually shot-by-shot recreation of the legendary Queen performance at Live Aid, considered by many to the greatest live performance in all of rock and roll. A little puzzling why they didn’t use the original. Worth seeing in the theater, if you don’t have a home theater.
Crazy Rich Asians – the all Asian cast made it notable and the shots of Singapore are great but it’s only average as a romantic comedy. The leads lack chemistry.
The Last Kingdom (Netflix)—I’ve watched all three Seasons and enjoyed them. Season 3, however, is beginning to lose its legs. The on-again, off-again love affair between King Alfred and Uhtred has worn its course and I swear I’ve seen the jump in the boats and row away under falling arrow scene more than once before. Still, it’s not boring.
Bodyguard (Netflix) —taut British thriller. I enjoyed it and at 6 episodes it’s less of an investment than some series.
Homecoming (Amazon Prime)—sold as a Julia Roberts endeavor. She’s fine but the real star is the mysterious atmospherics and unusual shots and edits. I didn’t realize till the end of the first episode that this was a Sam Esmail show. Ah, now it all makes sense. If you liked Mr. Robot, give it a shot. I haven’t finished the first season and I may not, so I can’t say for certain whether the investment is worthwhile.
Daredevil (Netflix) I have already mentioned. Now cancelled, despite a great third season.
The Man Who Would be King (Amazon Prime) – a John Huston classic featuring Sean Connery and Michael Caine. One of my favorites. Based on a story of Rudyard Kipling which was based on the true story of Josiah Harlan, Prince of Ghor.
At Eternity’s Gate: A stirring and powerful performance by Willem Dafoe as Van Gogh. Directed by Julian Schnabel, himself a noted artist. The camera work–meant to convey a “you are there” point of view and also the sometime madness of Van Gogh–was disconcertingly jumpy at times. Schnabel would have done better stepping back and placing more trust on Dafoe’s performance and also the cinematography of Benoît Delhomme. Oddly, Schnabel insists Van Gogh was murdered when suicide is the accepted account and one that rings true, even to the film itself.
Machines (Amazon Prime)–an excellent documentary illustrating a day in the life of a textile factory in Gujurat, India. The pictures do the work, very little commentary. Dickensian. Especially striking to an economist , how inefficiently the factory is being run. Quality control, inventory management and maintenance are clearly atrocious. I am reluctant to claim something is inefficient but we have strong experimental evidence that management quality in these firms is very low and that better management could more than pay for itself.
Think of art markets, and art collecting, as an ongoing debate over what is beautiful and also what is culturally important. But unlike most debates, you have a very direct chance to “put your money where your mouth is,” namely by buying art (it is very difficult to sell art short, however). In this regard, debates over artistic value may be among the most efficient debates in the world. At least if you are persuaded by the basic virtues of prediction markets. The prices of various art works really do aggregate information about their perceived values.
I have, however, noted a correlation, how necessary or contingent I am not sure. The “white male nerd types” who are enamored of prediction markets tend to be especially skeptical of the market judgments of particular art works, most of all for conceptual and contemporary art.
In my view, discussions about the value of art, as they occur in the off-the-record, proprietary sphere, are indeed of high value and they deserve to be studied more closely. Imagine a bunch of people competing to make “objects that are interesting but not interesting for reasons related to their practical value.” And then we debate who has succeeded, or not. And those debates reflect many broader social, political, and economic issues. And it is all done with very real money on the line. The money concerns not just the value of individual art works, but also the prestige and social capital value that arises from having assembled a prestigious and insightful collection.
I will be doing a Conversations with Tyler with her, no associated public event. Here is her New Yorker bio:
Larissa MacFarquhar has been a staff writer at The New Yorker since 1998. Her Profile subjects have included John Ashbery, Barack Obama, Noam Chomsky, Hilary Mantel, Derek Parfit, David Chang, and Aaron Swartz, among many others. She is the author of “Strangers Drowning: Impossible Idealism, Drastic Choices, and the Urge to Help” (Penguin Press, 2015). Before joining the magazine, she was a senior editor at Lingua Franca and an advisory editor at The Paris Review, and wrote for Artforum, The Nation, The New Republic, the New York Times Book Review, Slate, and other publications. She has received two Front Page Awards from the Newswomen’s Club of New York and the Academy Johnson & Johnson Excellence in Media Award. Her writing has appeared in “The Best American Political Writing” (2007 and 2009) and “The Best Food Writing” (2008). She is an Emerson Fellow at New America.
So what should I ask her?
It hangs in the White House, and Trump seems to like the picture. What about the image is striking? I can think of a few things:
1. There are no Founding Fathers in the painting, or other references to the more distant past, and so “Republicans” are presented as a distinct club of their own, above and beyond the broader American tradition. (On the far right, is that Theodore Roosevelt, Vernon Smith, or somebody else?)
2. The first George Bush (upper left), and Gerald Ford, are both denied a “seat at the proverbial table.” Bush seems to look on with admiration. The second George Bush, on the left side of the table seated, appears run down and haggard, defeated by the job. He looks a wee bit like a paler Obama.
3. Nixon, who had to resign, drinks alcohol while Trump seems to have Coca-Cola.
4. Reagan is shown as Trump’s only peer, while Eisenhower is the one “closest” to Trump, and the one most appreciative. Of course many of Trump’s policy preferences seem aimed at returning us to the Eisenhower era in some way (higher tariffs, lower immigration, less regulation, etc.)
5. Trump is the only one with a tie, except for TR, and it is a striking red tie.
7. It reminds me of a variety of “Last Supper” paintings, though not Leonardo’s. There are twelve of them.
8. The background, with its column and twinklings lights, is reminiscent of late 19th century French impressionism.
9. Who is the bearded figure in the foreground, with his back to us? At first I thought it was Mephistopheles, but it turns out to be Lincoln. He is a passive onlooker with weak shoulders, and with no commanding or influential presence of his own.
10. Andy Thomas, the artist, also painted the very different The Democratic Club. You could write a short book on the contrasts between the two paintings, for instance notice the Democrats are drinking beer and have a much wider and open background, with fewer columns.
John is one of the smartest people I know, and one of my favorite people to talk to, here is the transcript and audio. Here is the opening summary:
Raised in the Philippines and taught to be a well-rounded Catholic gentleman, John Nye learned the importance of a rigorous education from a young age. Indeed, according to Tyler he may very well be the best educated among his colleagues, having studying physics and literature as an undergraduate before earning a master’s and PhD in economics. And his education continues, as he’s now hard at work mastering his fourth language.
On this episode of Conversations with Tyler, Nye explains why it took longer for the French to urbanize than the British, the origins of the myth of free-trade Britain, why Vertigo is one of the greatest movies of all time, why John Stuart Mill is overrated, raising kids in a bilingual household, and much more.
Here is one bit:
NYE: In fact, one of the things I do know about the 19th century is that there’s no evidence that either unilateral free trade or multilateral did very much.
Almost all the free trade in Europe in the 19th century was a product of, initially, the bilateral trade agreement between Britain and France, sometimes known as the Anglo-French Treaty of Commerce of 1860, in which they each agreed to much more liberalized trade on a most-favored-nation basis. Once they accepted this, then what happened is, anyone who signed on to either Britain or France on the most-favored-nation basis then bought into, in some sense, this system.
Here is another:
COWEN: Particular mistakes aside, what were the systemic mistakes the Western world was making in, say, 1910, 1912?
NYE: I think the systemic mistake really boils down to how do you deal with the problem of power? How do you deal with the problem of different groups, different cultures wanting their place at the table? It’s clear that, if you look, a lot of the fight of imperialism was great-power competition.
If you look in the Far East, for example, some people may know that the United States took the Philippines from Spain at the end of the period of Spanish control of the Philippines in 1898, and partly this was due to Perry’s decision to sail into Manila Bay.
One of the things that’s not discussed — most people are unaware of — is that the German and British fleets were waiting in Hong Kong. They were waiting to see what the Americans did. And it’s quite likely that, had the Americans not steamed into Manila Bay, that the Germans or British would have intervened in the Philippines once the Spanish collapsed.
COWEN: And if there’s an underlying political subtext or import of Hitchcock, what do you think that would be? Not what he necessarily intended as his politics, but what’s in the movies in terms of human nature and political man?
NYE: Well, I think there’s this question of suspicion and the tendency to not appreciate how much is going on under the surface. I think people tend to see these things narrowly in terms of Cold War paranoia. But Hitchcock was a political conservative, and he was much more of the very old British conservative view that one should be wary in times of —
COWEN: Suspicion is metaphysical, right?
Definitely recommended, I am very honored to have had the chance to do this with John.
New artists who show their work early in a relatively small network of 400 venues—like Gagosian Gallery or the Guggenheim Museum—are all but guaranteed a successful art career, the study said. By contrast, artists who exhibit mainly in lower-level galleries and midtier institutions are likely to remain stuck in that orbit.
“There’s this invisible network of trust that exists in the art world, but the group that decides who matters in art was considerably smaller and more powerful than we expected,” said Albert-László Barabási, a data scientist who studies networks at Northeastern and led the study along with several colleagues including a data scientist now at the World Bank, Samuel Fraiberger. Their findings also show up in Dr. Barabási’s book published earlier this week, “The Formula: The Universal Laws of Success.”
His findings undermine a popular art-world notion that a prodigy could create in obscurity and get discovered years later. Instead, the research suggests that artists who start out seeking connections with powerful curators, dealers and collectors within the nerve center of the art world are far more likely to hit the big time…
“If one of your first five shows as an artist is held at a gallery in the heart of this network, the chances of your ending your career on the fringes is 0.2%,” Dr. Barabási said. “The network itself will protect you because people talk to each other and trade each other’s shows.”
…“The art world prides itself on being so open and inclusive, but the truth is the opposite,” Mr. Resch said.
The same is true for academia, I might add. And most other things.
COWEN: So you receive an offer to run Google. Why were you so skeptical about Google at first?
SCHMIDT: Well, I assumed that search wasn’t very important, and I assumed the ads didn’t work. I was so concerned about the ads that, after I accepted the offer — because it just seemed like it was interesting, and a lot of luck comes from doing things that are interesting, and sort of creating your own luck — I hauled the then–sales executive, whose name was Tim Armstrong, who you all know well, and I said, “Tim, prove to me that these ads work.”
So they showed me a set of ads, and they looked pretty foolish to me. So I said, “Well, let’s go find the finance person,” of which there was one, and the accounting system was done on QuickBooks. I said, “Prove to me that people are paying for these ads,” and they did.
We then did an ads conversion in the first year, which was called Project Drano, where we basically took three different ads databases, which were simple compared to today’s databases, and merged them into one. And I was terrified, absolutely terrified that the ruse that we had — because we had fixed pricing on our ads — that people would discover that our ads were not worth anything.
So I organized what I called the cash restriction period, where the only thing you could do if you wanted to spend money, is you could only spend money on Friday at 10 AM, and you had to come to me to justify it, which very much shuts down spending.
So we get to this conversion, we turn the thing over, and of course, we didn’t bother to build into the tools. We had no metrics. We didn’t know what was going on. I’m going, “Oh my God, the company is bankrupt. My first year, I’ve done a terrible job. What will the board think?” I did my best to notify everybody we were going to go kaput.
The auction produced a price that was three times higher than the previous prices. Very interesting. So much for the cash restriction period, and the rest is history.
And from Eric:
We did all sorts of things. My favorite example is that we would interview people to death. We interviewed this one gentleman sixteen times, and we couldn’t decide. So I picked a random number, which was half, and I said, “We should have a max of eight, and if we can’t decide after eight . . .” We’ve since done a statistical analysis, and the answer today is four to five interviews.
And here is my bit on Eric:
COWEN: Now early on, you were an intern at Bell Labs, and also PARC, which belonged to Xerox, and I think of those two institutions as stemming from earlier glory years of American science.
Is it fair to think of your career as in some sense, you’re the person who spans those two eras, the Bell Labs-PARC era of doing things, and then the tech era of manipulating information, and that your ability to bring expertise from those two areas together is what has made you a unique figure? Is that a fair assessment of how you fit into the picture?
And there is this bit:
COWEN: How did it influence you having a father who was a famous economist? He wrote on balance of payments crises. What did you draw from him? Did that have a role in using so much economics in Google?
SCHMIDT: Well, what’s interesting is, I asked my father, “If you’re such a good economist, why are we not rich?”
I will be doing a Conversation with her, here is her home page:
Professor of Philosophy and Senior Research Scholar in the Kennedy Institute of Ethics at Georgetown University
Also: amateur powerlifter and boxer and certified sommelier
I live in the middle of Washington, DC, with my 13-year-old son Eli and my two Portal-themed cats, Chell and Cube. My research focuses on social epistemology, philosophy of medicine, and philosophy of language.
This interview is an excellent entry point into her thought and life, here is an excerpt from the introduction:
[Rebecca] talks about traveling the world with her nomadic parents, her father who was a holocaust survivor and philosopher, hearing the Dream argument in lieu of bedtime stories, chaotic exposure to religion, getting a job at and apartment at the age of 14, the queerness of Toronto, meeting John Waters and Cronenberg, her brother who is the world’s first openly transgender ordained rabbi, getting into ballet, combating an eating disorder, the importance of chosen family, co-authoring an article with her dad, developing an interest in philosophy of mathematics, the affordability of college in Canada, taking care of a disabled, dramatically uninsured loved one, going to University of Pitt for grad school, dealing with aggravated depression, working with Brandom, McDowell, the continental/analytic distinction, history of philosophy, how feminism and women—such as Tamara Horowitz, Annette Baier, and Jennifer Whiting–were treated at Pitt, coping with harassment from a member of the department, impostor syndrome, Dan Dennett and ‘freeedom’, her sweet first gig (in Vermont), dining with Bernie Sanders, spending a bad couple of years in Oregon, having a child, September 11th, securing tenure and becoming discontent at Carleton University, toying with the idea of becoming a wine importer, taking a sabbatical at Georgetown University which rekindled her love of philosophy, working on the pragmatics of language with Mark Lance, Mass Hysteria and the culture of pregnancy, how parenting informs her philosophy, moving to South Florida and the quirkiness of Tampa, getting an MA in Geography, science, philosophy and urban spaces, boxing, starting a group for people pursuing non-monogamous relationships, developing a course on Bojack Horseman, her current beau, Die Antwoord, Kendrick, Trump, and what she would do if she were queen of the world…
And from the interview itself:
I suspect that I’m basically unmentorable. I am self-destructively independent and stubborn, and deeply resentful of any attempt to control or patronize me, even when that’s not really a fair assessment of what is going on.
So what should I ask her?
Previously, she has made dairy products from the perspiration of Bill Gates and Mark Zuckerberg.
Here is the full article. And:
In one exhibition, [Sissel] Tolaas captured the armpit sweat of severely anxious men from Greenland to China, recreated their individual smells and painted them onto the walls of the installation. (“There was a composite odor of anxiety that just infused the whole room, and it was really unhinging,” said Howes, who saw it in Basel, Switzerland). After the smell of fear, Tolaas recreated the smell of violence from cage fighters in East London. She has recreated the scents of Berlin’s famed Berghain nightclub, New York’s Central Park in October, World War I, communism and the ocean. Her shows are immersive and emotional in a distracted world. They aim to grip audiences right by the lizard brain.
Tolaas also invented 1,500 “smell memory kits” — abstract odors that have never been smelled before. When you want to remember an event, you open the amulet and inhale, sealing the moment in your emotional core. For the London Olympics, she made a Limburger cheese sourced from David Beckham’s sweaty socks, which was served to VIPs.
File under “Department of Why Not?”
The process by which individuals become entrepreneurs is often described as a decisive moment of transition, yet it necessarily involves a series of smaller steps. This study examines how human capital and social capital are accumulated and deployed in the earliest stages of the entrepreneurial transition in the setting of “user entrepreneurship.” Using the unique dataset from Ravelry—the Facebook of knitters—I study why and how some knitters become entrepreneurs. I show that knitters who make the entrepreneurial transition are distinctive in that they have experience in fewer techniques and more product categories. I also show that this transition is facilitated by participation in offline social networks where knitters garner feedback and encouragement. Importantly, social and human capital appear to complement each other with social capital producing the greatest effect on the most skilled users. Broader theoretical implications on user innovation, the role of social capital, and entrepreneurship research are discussed.
Here is part of the concluding summary:
…the critical factor explaining why some creative knitters transition to designers is the feedback and encouragement they receive from fellow knitters and friends. With a carefully matched sample, difference-in-difference analysis verifies that the participation in an offline local networking group increases the likelihood of transition by 25%. Furthermore, the results suggest that social capital effect is largest among those with entrepreneurial human capital, as social capital complements human capital in knitters’ transition to
I have read through the entire paper and the whole thing is a gem.
Heidi Mitchell reports (NYT):
“The gallery is a format that is struggling,” said the Argentine curator Ximena Caminos, formerly of the Malba museum in Buenos Aires and now chief creative officer of the Honey Lab cultural space in Miami’s Blue Heron hotel and residential project, which is now under development. “It’s transactional; the artist doesn’t have that much creative freedom, and there is a lot of pressure to make money in a short period of time.” Artists, she said, are seeking new places to showcase their work, especially if the pieces are large in scale.
If the number and relevance of galleries were to decline (continue to decline?), how might this affect artistic content? Here are a few hypotheses:
1. More artists will commission pieces for corporate lobbies and condominiums, as the article reports. That will tend to favor mainstream abstract art and disfavor political statements and obscenities.
Erica Samuels notes:
“There is a great responsibility on the real estate developers that maybe they don’t even realize, while at the same time, the stigma of an artist working with a rich developer is fading.”
2. Corporate-owned works are usually less liquid and may not be sold at all, short of bankruptcy or liquidity crunches, when they are sold under panic conditions. Artists therefore will be less likely to have dominant dealers who prop up their prices and cultivate markets for them. That will likely encourage greater artistic output, though also lower quality output, as might be defined by elites. The resulting art will have to appeal to buyers at first glance, as the artist cannot count upon “sophisticated” galleries to persuade or educate potential buyers.
3. Some artists will take their craft directly to the street, as is done in Belfast or Newark, New Jersey. They will paint for local community status, and for the joy of it, and for political self-expression, rather than for pay. They will use cheaper materials, brighter colors, and indulge in themes and images with strong local meaning. Political art and paid art will separate further.
4. Galleries pursue their own coherent reputations, which encourages carried artists to fit into slots which match gallery reputations. So there are “conceptual art galleries,” “Pop Art galleries,” and so on, and artists in turn target those styles, so as to achieve entry to galleries. When galleries are weaker, the slottable categories are created by some other set of intermediaries — might it someday be Instagram hashtags? eBay search terms? Something else? In any case, those new slots or styles might have to be less “you know it when you see it” and more “you can type those words into a search function.”
5. The decline of browsing has hit published books as well, especially fiction, which saw a big decline in sales over 2013-2017: “The most commonly shared view is that it has become extremely difficult to generate exposure for novels. Fiction, more than nonfiction, depends on readers discovering new books by browsing. Now, with the number of physical stores down from five years ago (despite a rise in ABA membership), publishers cannot rely on bricks-and-mortar stores providing customers with access to new books.” It is easier to type the topic of a non-fiction book into a search function. In this world it is harder to develop new authors [artists], and the link directly above, while about books, is a good way to start thinking about the galleries issue.
6. Most galleries, either intentionally or not, create a distinction between what is shown on the floor and what is held in the back room. Non-gallery art is less likely to be bifurcated in the same way, even if some pieces are more prominent on the home page than others. That may make internet-displayed art less “bubbly,” less subject to elite manipulations and prejudices and enlightenments, and also both fuzzier and lower in price.
7. If there are fewer galleries, perhaps more will be bought and sold at auction. The winning bidder will be less likely to be ripped off by say 3x on the price, so it will be easier to experiment with buying unfamiliar styles: “I liked the Persian carpet I saw at Sotheby’s, and figured the winning bid wouldn’t have too much winner’s curse in it.” You can’t say the same when you go to a gallery relatively uninformed.
8. Galleries offer high implicit returns to regular buyers, who end up getting a crack at the best works in advance, even before the show opens. That encourages buyer specialization, whereas internet and auction-based methods of selling do not.
9. What else?
Why might observers label one social actor’s questionable act a norm violation even as they seem to excuse similar behavior by others? To answer this question, I use participant-observer data on Los Angeles stand-up comics to explore the phenomenon of joke theft. Informal, community-based systems govern the property rights pertaining to jokes. Most instances of possible joke theft are ambiguous owing to the potential for simultaneous and coincidental discovery. I find that accusations are not strongly coupled to jokes’ similarity, and enforcement depends mainly on the extent to which insiders view the comic in question as being authentic to the community. Comics who are oriented toward external rewards, have a track record of anti-social behavior, and exhibit lackluster on-stage craft are vulnerable to joke theft accusations even in borderline cases because those inauthentic characteristics are typical of transgressors. Vulnerability is greatest for comics who enjoy commercial success despite low peer esteem. Authenticity protects comics because it reflects community-based status, which yields halo effects while encouraging relationships predicated on respect. In exploring accusations of joke theft and their outcomes, this study illustrates how norms function more as framing devices than as hard-and-fast rules, and how authenticity shapes their enforcement.
That is from “No Laughter among Thieves: Authenticity and the Enforcement of Community Norms in Stand-Up Comedy,” by Patrick Reilly, from the American Sociological Review.
For the pointer I thank Siddharth Muthukrishnan.