Category: The Arts
A loyal reader writes to me:
Maybe a bleg on MR at some point (not naming me) for good places to eat and things to do in Pittsburgh?
The suburbs stretching out to eastern Ohio would count too…and is there a Tyler Cowen of Pittsburgh when it comes to ethnic dining?
I thank you all in advance for your wise and mature counsel.
Bryan was in top form, I can’t recall hearing him being more interesting or persuasive. Here is the audio and text. We talked about whether any single paper is good enough, the autodidact’s curse, the philosopher who most influenced Bryan, the case against education, the Straussian reading of Bryan, effective altruism, Socrates, Larry David, where to live in 527 A.D., the charm of Richard Wagner, and much more. Here is one excerpt:
COWEN: You love Tolstoy, right?
CAPLAN: Yeah. You love Tolstoy because here’s a guy who not only has this encyclopedic knowledge of human beings — you say he knows human nature. Tolstoy knows human natures. He realizes that there are hundreds of kinds of people, and like an entomologist, he has the patience to study each kind on its own terms.
Tolstoy, you read it: “There are 17 kinds of little old ladies. This was the 13th kind. This was the kind that’s very interested in what you’re eating but doesn’t wish to hear about your romance, which will be contrasted with the seventh kind which has exactly the opposite preferences.” That’s what’s to me so great about Tolstoy.
Here is one of my questions:
What’s the fundamental feature in Bryan Caplan–think that has made you, unlike most other nerds, so much more interested in Stalin than science fiction?
Here is another exchange:
COWEN: You think, in our society in general, this action bias infests everything? Or is there some reason why it’s drawn like a magnet to education?
CAPLAN: Action bias primarily drives government. For individuals, I think even there there’s some action bias. But nevertheless, for the individual, there is the cost of just going and trying something that’s not very likely to succeed, and the connection with the failure and disappointment, and a lot of things don’t work out.
There’s a lot of people who would like to start their own business, but they don’t try because they have some sense that it’s really hard.
What I see in government is, there isn’t the same kind of filter, which is a big part of my work in general in politics. You don’t have the same kind of personal disincentives against doing things that sound good but actually don’t work out very well in practice.
Probably even bigger than action bias is actually what psychologists call social desirability bias: just doing things that sound good whether or not they actually work very well and not really asking hard questions about whether things that sound good will work out very well in practice.
I also present what I think are the three strongest arguments against Bryan’s “education is mostly signaling” argument — decide for yourself how good his answers are.
COWEN: …Parenting and schooling in your take don’t matter so much. Something is changing these [norms] that is mostly not parenting and not schooling. And they are changing quite a bit, right?
COWEN: Is it like all technology? Is the secret reading of Bryan Caplan that you’re a technological determinist?
CAPLAN: I don’t think so. In general, not a determinist of any kind.
COWEN: I was teasing about that.
And last but not least:
CAPLAN: …When someone gets angry at Robin, this is what actually outrages me. I just want to say, “Look, to get angry at Robin is like getting angry at baby Jesus.” He’s just a symbol and embodiment of innocence and decency. For someone to get angry at someone who just wants to learn . . .
COWEN: And when they get mad at me?
CAPLAN: Eh, I understand that.
By comparing Poets and Talkers along these lines, the researchers were able to draw two overall conclusions. First, when compared to the Talkers, the poets tended to speak more slowly and stay within a narrower pitch range. Second, very few Talkers indulged in long pauses, but plenty of poets—33 percent—had no trouble leaving their listeners hanging for two seconds or more…
This is also, perhaps, why it can seem grating or detached: “In a more natural conversational intonation pattern, you vary your pitch for emphasis depending on how you feel about something,” says MacArthur. “In this style of poetry reading, those idiosyncrasies … get subordinated to this repetitive cadence. It doesn’t matter what you’re saying, you just say it in the same way.” Overall, the researchers write, “from this small sample, we would conclude that perhaps when some listeners hear poets read with one or more of these characteristics—slow pitch speed, slow pitch acceleration, narrow pitch range, low rhythmic complexity, and/or slow speaking rate—they hear Poet Voice.”
Of course I end up reading much more than what gets reported here on MR. In my preparation for my Conversation with poetry scholar Elisa New, I ran across this wonderful Anna Akhmatova poem, entitled N.V.N. and translated by Jane Kenyon:
There is a sacred, secret line in loving
which attraction and even passion cannot cross, —
even if lips draw near in awful silence
and love tears at the heart.
Friendship is weak and useless here,
and years of happiness, exalted and full of fire,
because the soul is free and does not know
the slow luxuries of sensual life.
Those who try to come near it are insane
and those who reach it are shaken by grief.
So now you know exactly why
my heart beats no faster under your hand.
We now return to your regularly scheduled programming…
Most of the paragraphs in this Jonathan Derbyshire FT article are excellent, here is one of them:
Sokolsky-Tifft recalls Parfit quoting a line from Homer in the middle of a talk. “He started to weep because he found it so beautiful. That was when I first started to get the idea that this was a man with a strange heart, for whom art was always bubbling beneath the surface of these logical arguments.”
Parfit attributed his obsession with a handful of places — he once said that there were only 10 things in the world he wanted to photograph — to a condition called aphantasia, the inability to form mental images. He was unable to visualise things familiar to him, even his wife’s face when they weren’t together.
Recommended, the work is first-rate, as is the article, and subscribe to the FT if you must.
I will be doing a Conversation with her, here is part of her Wikipedia entry:
Elisa New…is a Professor of English at Harvard University. She holds a B.A. from Brandeis University (1980), as well as a M.A. and a Ph.D from Columbia University (1982 and 1988, respectively). Her interests include American poetry, American Literature-1900, Religion and Literature, and Jewish literature. Before moving to Harvard, she taught at the University of Pennsylvania.
So what should I ask her?
I heard Mozart’s 39th symphony in concert last night, and it occurred to me (once again) that I also was witnessing one of mankind’s greatest technological achievements. Think about what went into the activity: each instrument, developed eventually to perfection and coordinated with the other instruments. The system of tuning and the underlying principles of the music. The acoustics of the music hall. The sheet music on paper and the musical notation. All of those features extremely well coordinated with the kind of compositional talent being produced in Central and Western Europe from say 1710 to 1920. And by the mid-18th century most of the key features of this system were in place and by the early 19th century they were more or less perfected.
Sometimes I think of the Industrial Revolution as fundamentally a Cultural Revolution. The first instantiation of this Cultural Revolution maybe was the rise of early Renaissance Art in Italy and in the Low Countries. That too was based on a series of technological developments, including improved quality tempera paint, the development of oil painting, the resumption of bronze and marble techniques for sculpture, and the reintroduction of paper into Europe, which enabled artists’ sketches and drawings.
As with classical music, this unfolding of quality production was all based on extreme experimentation, a kind of scientific method, urbanization, and competing city-states. There was also the rediscovery of knowledge from antiquity, and the importation or reimportation of science from China and the Arabic world, including the afore-mentioned knowledge of paper-making.
The creation of a book culture, and a culture of experimental science, could be cited as well.
Perhaps the only [sic] difference with the Industrial Revolution proper is that it came to sectors — energy, transport, and textiles — that boosted living standards immensely. But arguably it was just another of a series of Cultural Revolutions that had their roots in late medieval times, with even classical music deriving ultimately from Franco-Flemish polyphony. One of these Cultural Revolutions just happened to be Industrial.
Of course the earliest parts of Revolutions are often the best, as we’ve surpassed the steam engines of the 19th century but Mozart and Leonardo are still with us.
The National African Art Museum has a problem:
Attendance dropped to 159,000 last year from a high of 403,000 in 2009, when there was a special exhibition. Last year’s number is 43 percent below the 10-year average.
One of the under-reported stories about D.C. is how much the city’s art museums have faded as intellectual and cultural centers for the city. This seems to be extreme for the African museum, perhaps because of urban gentrification, and perhaps because the African museum has an especially hard time mounting blockbuster exhibits famous to the public eye. Prince Twins Seven Seven just isn’t as famous as he ought to be.
AI Grant (aigrant.org) is a distributed AI research lab. Their goal is to find and fund the modern day Einsteins: brilliant minds from untraditional backgrounds working on AI.
They need a software engineer. The qualifications are twofold: an intrinsic interest in the problem of identifying talented people across the world, and a demonstrated ability to ship software projects without much supervision. This doesn’t have to be through traditional means. It could just be side-projects on Github.
They’re also looking for a psychologist with experience in personality and IQ modeling.
Bay Area location is a big plus, but not a requirement. If you’re interested in learning more, email email@example.com with information about yourself.
This is not a paid ad, but I am seeking to do a favor for the excellent and highly talented Daniel Gross (and perhaps for you), with whom you would get to work. Do please mention MR if you decide to apply!
We thank Ben Brophy and also the Mercatus Center. We may be doing some ongoing tweaks, so please bear with us. Sometimes things have to change to continue to look the same.
That is the new and excellent biography by Mark Eisner, here is one good bit:
“The antagonism toward Borges may exist in an intellectual or cultural form because of our different orientation,” Neruda answered. “One can fight peacefully. But I have other enemies — not writers. For me the enemy is imperialism, and my enemies are the capitalists and those who drop napalm on Vietnam. But Borges is not my enemy…He understands nothing of what’s going on in the contemporary world; he thinks that I understand nothing either. Therefore, we are in agreement.”
After [Juan Ramón] Jiménez’s “great bad poet remark, Neruda and his friends started to prank call Jiménez’s house, hanging up the phone as soon as he answered.
This book is remarkably well-constructed and easy to read, the best treatment of one of the 20th century’s greatest poets.
This is for another friend, here are my pointers:
1. Find a very good food street/corner and take many of your meals there. I’ve used Rue Daguerre and around Rue des Arts (Left Bank) for this purpose, but there are many others. Spend most of your money in the cheese shop, asking them to choose for you, but supplement with bread, fruit, and of course chocolate. This beats most restaurant meals, noting it won’t be cheap either. And yes it is worth paying $8 for a bar of chocolate there.
2. Do track down medieval Paris, most of all the cathedrals. This will bring you by other delights as well.
3. Especially on the Left Bank, Paris is one of the very best walking cities. Avoid Champs-Élysées and environs, a broad-avenued, chain store-intense corruption of what Paris ought to be. Avoid Jardin Luxembourg and the surrounding parts as well, they are urban deserts.
4. Get a peek of the major bridges over the Seine, if only by traversing them.
5. You don’t in fact have to stand in line to see the Mona Lisa. It’s a lovely painting, but at this point in human civilization it is OK to skip it. You don’t need to hear “Bohemian Rhapsody” again either. But you should go to the top of the Eiffel Tower. And in the Louvre, don’t neglect the Poussin room, the Michelangelo sculptures, or the Flemish and 17th century works.
6. The Louvre, d’Orsay, Cluny, and Branly (ethnographic) are the essential museums in town. Check out Grand Palais and Petit Palais for possible exhibits. When walking around, keep your eye out for posters (yes, posters) advertising exhibits and concerts.
7. If you want to spend forty euros for a very good but not revelatory lunch, find a “cool” area with lots of restaurants and poke your head in at their opening, at 12:30, to ask for a table. By 12:45 it is too late and you are screwed and back to your favorite cheese shop. By the way, I don’t think Paris is the best city in which to spend $200 on a meal.
8. In most of the parts of Paris you are likely to frequent, do not try to eat any Asian or “ethnic” foods. The best restaurants of those kinds are in north Paris, on the way to the airport, but no one visits there. Couscous in Paris is boring.
9. Belleville is the gentrifying Brooklyn of Paris, with relatively few tourists, if that is what you are looking for. Avoid Montmartre. For practical reasons, I’ve spent a lot of my Paris time near Unesco, in a neighborhood that is a bit sterile but very beautiful and it gives you a decent sense of well-to-do residential Paris life. Develop your mini-Paris residential life somewhere, and make your time there more than just a tourist visit. The site I should not enjoy but do is Le Dôme des Invalides, also the tomb of Napoleon.
10. The essential Paris movies are lots of Godard (Breathless, Band of Outsiders, others), Jules and Jim, and Triplets of Belleville. Agnes Varda’s Cléo from 5 to 7 for those with an experimental bent. Eric Rohmer for something light-hearted. Amélie and Before Sunset are both rewarding, though at the margin Godard usually is what Americans are lacking.
11. Carry along Hugo and Balzac to read. Flaubert and Proust are wonderful, but they are more “interior” authors and thus you can imbibe them anywhere. Do not forget Houllebecq’s Submission. I do not love most of the well-known non-fiction books on Paris; perhaps they become corrupted through the chance of being truly popular. Do read Graham Robb’s The Discovery of France and try to dig up a useful architectural guide to the city. I’m also a big fan of Hazel Rowley’s Tete-a-Tete: Simone de Beauvoir and Jean-Paul Sartre.
12. Don’t go expecting Parisians to be rude, I have never (well, once) found that to be the case in more than six months spent in the city.
13. My overall take is this: Paris today is fairly sterile in terms of overall creativity, or for that matter business dynamism. But Parisians have perfected the art of taste along a number of notable dimensions, like nowhere else in the world. If your trip allows you to free ride upon those efforts in a meaningful way, it will go very well.
ONCE UPON A time, artists had jobs. And not “advising the Library of Congress on its newest Verdi acquisition” jobs, but job jobs, the kind you hear about in stump speeches. Think of T.S. Eliot, conjuring “The Waste Land” (1922) by night and overseeing foreign accounts at Lloyds Bank during the day, or Wallace Stevens, scribbling lines of poetry on his two-mile walk to work, then handing them over to his secretary to transcribe at the insurance agency where he supervised real estate claims. The avant-garde composer Philip Glass shocked at least one music lover when he materialized, smock-clad and brandishing plumber’s tools, in a home with a malfunctioning appliance. “While working,” Glass recounted to The Guardian in 2001, “I suddenly heard a noise and looked up to find Robert Hughes, the art critic of Time magazine, staring at me in disbelief. ‘But you’re Philip Glass! What are you doing here?’ It was obvious that I was installing his dishwasher and I told him that I would soon be finished. ‘But you are an artist,’ he protested. I explained that I was an artist but that I was sometimes a plumber as well and that he should go away and let me finish.”
Edi Rama, the Prime Minister of Albania, sometimes feels his hand doodling as he contemplates a political decision. The art pours out to center and steady him. In 1998, Rama left a promising career as an artist in Paris to become Albania’s minister of culture. Now the country’s leader, he shows his loose, improvisatory drawings and sculptures in galleries around the world. “I found myself drawing almost all my working time whilst interacting with people in my office or on the phone,” he said in a 2016 interview. “I began to understand that my subconscious was being helped … by my hand to stay calm while my conscious had to focus on demanding topics.”
ARTS FUNDING: It goes up despite Trump’s attempts to slash. NEA and NEH funding climbs $152.8M each. National Gallery of Art gets $165.9M; John F. Kennedy Center for the Performing Arts receives $40.5 million. All increases over last year.