Category: The Arts
I am just arriving, and for the first time Here are my favorites:
1. Pianist: Emil Gilels, most of all for Beethoven and Chopin. Vladimir Horowitz was born in Kiev, he was often best in unusual pieces, such as Scriabin, Prokofiev, and John Philip Sousa. But there is also Cherkassy, Pachmann, Moiseiwitsch, Lhevinne, and others. Simon Barere was one of the greatest Liszt pianists. So we are into A++ territory here. But wait…Richter was born in Ukraine! My head is exploding now.
1b. Violinists: You’ve got Nathan Milstein, Mischa Elman, Isaac Stern, Leonid Kogan, the Oistrakhs, among others, with Milstein’s Bach recordings as my favorite.
2. Composer: Prokofiev was born in eastern Ukraine (or is it now Russia again?), but somehow I don’t feel he counts. Valentin Sylvestrov would be an alternative.
3. Novelist: One choice would be Nikolai Gogol, then Mikhail Bulgakov, born in Kiev but ethnically Russian. But I can’t say I love Master and Margarita; it is probably much better and funnier in the original Russian. His The White Guard is a more directly Ukrainian novel, and it should be better known. A Country Doctor’s Notebook is perhaps my favorite by him. For short stories there is Isaac Babel. Joseph Conrad was born in modern-day Ukraine, though I don’t feel he counts as Ukrainian, same with Stanislaw Lem. Vassily Grossman is a toss-up in terms of origin. The Brazilian author Clarice Lispector, now very much in fashion, was born in Ukraine.
4. Movie: Alexander Dovzhenko’s Earth, a 1930 take on agricultural collectivization. With Dovshenko as my favorite director.
5. Movie, set in: Man With a Movie Camera. It is remarkable how fresh and innovative this 1929 silent film still is.
6. Painter: David Burliuk, leader of the Ukrainian avant-garde and later member of the Blue Rider group. Ilya Repin was born in modern-day Ukraine, though he feels “Russian” to me in the historical sense.
7. Sculptor: Alexander Archipenko was born in Ukraine, though he ended up in America.
8. Economist: Ludwig von Mises. He was born on territory near current-day Lviv, part of Ukraine.
9. Actress: Milla Jovovich is pretty good in The Fifth Element and Resident Evil.
10. Tech entrepreneur: Max Levchin.
11. Israeli: There is Golda Meir, Natan Sharansky, and Simon Wiesenthal, among others.
Other: Wilhelm Reich deserves mention, though I’m not really a fan. The region produced a few good chess players too.
Overall, this is a stunningly impressive list, though there are legitimate questions as to who and what exactly counts as Ukrainian. They’re still trying to sort that one out, which is part of the problem.
A NEW GENERATION of celebrities is selling out concerts, starring in commercials, and amassing huge Instagramfollowings. But none of them exist—corporeally, anyway. In recent years, and starting in Japan, technology and social media have spawned a digital demimonde of computer-generated stars, ranging from fake musicians and models to company mascots who appear as holograms (like Betty Crocker, with AI). When they’re not entertaining you, they’re trying to convince you of their humanity, and even the more cartoonish among them have fleshed-out personalities. In a way, it’s the purest expression of celebrity, which has always been an elaborate illusion. CGI starlets, though, “are much easier to control,” says Ryan Detert, CEO of the branding firm Influential. Except when they misbehave.
I was surprised by the consistent level of quality in the production. It runs for about 2 hours, 20 minutes, with hardly any slow musical moments — how many pop or rap albums can say the same?
I do not agree with those who see it as too authoritarian or too glorifying of raw ambition and war. In my read of the piece, it is “crazy” King George III who speaks the truth about politics. The main plot of course has non-white characters in the roles of Founding Fathers. I view this as an imaginary history, to be compared against what actually happened, to illustrate just how far America is from having an actual emancipatory history. At the same time, America is the country where people tell such imaginary stories about emancipatory histories, a sign that we are not entirely hopeless. Yet when it comes to “who is in the room,” and “who gets to tell the story” — two recurring themes — the outcomes have been less than ideal. I saw Hamilton as a piece about shattered dreams and yet picking up the pieces yet again.
It is striking how good a job Hamilton does at appealing to viewers of all different levels of education and information.
Here is a review from David Brooks (NYT).
Due to the asymmetry of fame I feel that I know you quite well so I am just going to bombard you with random questions and hope that you see fit to answer some of them.
You seem to value journalism very highly. Is it just out of necessity as a generalist, or does popular writing on a topic have important information that can’t be learned from the academic/scholarly side?
Journalists have to try to explain things that actually happened to other human beings, often educated ones but not specialists either. It is hard to overrate the importance of that process to developing one’s thoughts and self, no matter what you may think of particular journalists in today’s MSM.
Related: Which elite profession or slice of society is most opaque to journalists and “book-learning” in general? (Oddly some of the categories that come to mind are those which are some of the most written-about – food, sex, friends, law, politics. But it’s probably maths.)
Making things. Archaeology. These days, tech. Maths. Journalism.
How much less interesting would it be to read Shakespeare if no-one else ever had? Does the answer differ much across top-tier “great” artists?
It would not be less interesting at all, maybe more interesting, because the shock of discovery would be all the greater. Admittedly, many artists require lots of discussion with other people, maybe rock and roll most of all? But not Shakespeare.
Overrated vs underrated: The New Yorker. How about Samin Nosrat?
The New Yorker has had a consistent voice and remarkable brand for more decades than I can remember (I recall Patrick Collison making a similar point, perhaps in a podcast?). Since I am now above the median age for the United States, that makes them underrated. The literariness of the historical New York and Northeast and the integration of American and European culture also have become underrated topic areas, and The New Yorker still does them, so that too makes the magazine underrated.
And who is Samin Nosrat? She must therefore be underrated.
Does the world have too many writers, or not enough? What about comparative literature professors? How should we think about the future of literary culture when the written word is becoming so much more culturally dominant at the same time as books and journalism are falling apart?
What variable are we changing at the margin? If people watch less TV and write more, that is probably a plus. I also would favor fewer photographs and more writing. But I wouldn’t cut back on charity to increase the quantity of writing. If only comparative literature professors were people who simply loved books — at the margin a bit more like used book store owners and somewhat less like professors — and would compare them to each other…then I would want more of them. Until then, I don’t know how to keep the extra ones busy.
Why does the USA not have open borders with Canada?
I believe America should have open borders with any nation that has a more generous welfare state than we do. That covers Canada, even though Canadian insurance coverage for mental health and dentistry isn’t nearly as good as you might think. As to why we don’t have open borders with Canada, I don’t think American voters would see that as solving any concrete problem (can’t we get many of the best Canadians anyway?), and it would feel a bit like giving up control, so why do it?
To what extent are Trump, Brexit, Orban, Erdogan, rising murder rates and stalling trade growth worldwide part of the same phenomenon? If they aren’t completely separate, which way does the contagion run?
Yes, no, and maybe so, get back to me in a few years’ time.
Have a great day…
Shane emails me:
What have you found to be the best books on small, innovative, productive groups?
These could be in-depth looks at specific groups – such as The Idea Factory, about Bell Labs – or they could be larger studies of institutions, guilds, etc.
I suggest reading about musical groups and sports teams and revolutions in the visual arts, as I have mentioned before, taking care you are familiar with and indeed care passionately about the underlying area in question. Navy Seals are another possible option for a topic area. In sociology there is network theory, but…I don’t know. In any case, the key is to pick an area you care about, and read in clusters, rather than hoping to find “the very best book.” The very theory of small groups predicts this is how you should read about small groups!
But if you must start somewhere, Randall Collins’s The Sociology of Philosophies is probably the most intensive and detailed place to start, too much for some in fact and arguably the book strains too hard at its target.
I have a few observations on what I call “small group theory”:
1. If you are seeking to understand a person you meet, or might be hiring, ask what was the dominant small group that shaped the thinking and ideas of that person, typically (but not always) at a young age. Step #1 is often “what kind of regional thinker is he/she?” and step #2 is this.
2. If you are seeking to foment change, take care to bring together people who have a relatively good chance of forming a small group together. Perhaps small groups of this kind are the fundamental units of social change, noting that often the small groups will be found within larger organizations. The returns to “person A meeting person B” arguably are underrated, and perhaps more philanthropy should be aimed toward this end.
3. Small groups (potentially) have the speed and power to learn from members and to iterate quickly and improve their ideas and base all of those processes upon trust. These groups also have low overhead and low communications overhead. Small groups also insulate their members sufficiently from a possibly stifling mainstream consensus, while the multiplicity of group members simultaneously boosts the chances of drawing in potential ideas and corrections from the broader social milieu.
4. The bizarre and the offensive have a chance to flourish in small groups. In a sense, the logic behind an “in joke” resembles the logic behind social change through small groups. The “in joke” creates something new, and the small group can create something additionally new and in a broader and socially more significant context, but based on the same logic as what is standing behind the in joke.
5. How large is a small group anyway? (How many people can “get” an inside joke?) Has the internet made “small groups” larger? Or possibly smaller? (If there are more common memes shared by a few thousand people, perhaps the small group needs to be organized around something truly exclusive and thus somewhat narrower than in times past?)
6. Can a spousal or spouse-like couple be such a small group? A family (Bach, Euler)?
7. What are the negative social externalities of such small groups, compared to alternative ways of generating and evaluating ideas? And how often in life should you attempt to switch your small groups?
8. What else should we be asking about small groups and the small groups theory of social change?
9. What does your small group have to say about this?
I thank an anonymous correspondent — who adheres to the small group theory — for contributions to this post.
Here is the audio and transcript, Elisa is a Professor of English at Harvard, with a specialty in poetry, and also star and driving force behind the new PBS show Poetry in America. Most of all we talked about poetry! Here is one excerpt:
COWEN: Let me express a concern, and see if you can talk me out of it. I’m going to use the word best, which I know many literary critics do not like, but I believe in the concept nonetheless.
In my view, the two best American poets are Emily Dickinson and Walt Whitman, and they were both a long, long time ago. They were quite early in the literary history of this nation.
Is that a statement about the fame-generating process, a statement about somehow their era was better at generating the best poets because we had a much smaller population, or am I simply wrong in thinking they’re the best American poets?
NEW: I don’t know what to say to you. I revere them. They are the most important poets for me. They invent two ways of being a poet, and two of the ways that so many poets who have followed them also acknowledge.
Would there be Susan Howe, Marianne Moore, Elizabeth Bishop, Sylvia Plath? All in different ways, would we have them without Emily Dickinson? I don’t know. I’m not sure I can enter . . . Is it that we’ve lost it? I don’t think that’s it. I don’t think we’ve lost it.
COWEN: I turn to European history, again using the “best” word, but it’s plausible to think Homer and Dante are the two best European poets ever in some regards, and they, too, are each quite early in a particular stage of history. What is it about poetry that seems to generate so many people as at least plausible bests who come at the very beginnings of eras?
NEW: Well, isn’t it that poetry is cumulative, and canons are cumulative, and those who are there first, they’re never superseded — unlike, say, for economists who would say, “Adam Smith is a really smart guy, but it’s not like we go to Adam Smith to understand Bitcoin.” They would say, “No. That knowledge has been superseded.”
In literary knowledge, we continue to learn from our predecessors and also continue to feel awe before the persistence of certain phenomena that they . . . Shakespeare saw that Iago was a slippery-mouthed conniver of a kind we still recognize.
We recognize ourselves. We recognize something enduringly human in these oldest of poets, and then, maybe, we elevate them even more.
COWEN: Is it possible that American English isn’t rich enough? I find if I go to Ireland, or especially to Trinidad, I envy the language they have there. They’re both speaking English. If you think of America today, there’s texting, now a long history of television.
Our language is great for quick communication, number one in the world for science. Now there’s social media. Nineteenth-century American English has longer sentences. It’s arguably more like British English. Isn’t the problem just the language we grow up with around us isn’t somehow good enough to sustain first-rate poets?
NEW: It is. It’s so rich. I love the way it evolves, the way my kids don’t say “whatever” anymore. “Whatever” had such incredible potency. “Epic.” When they started to say “epic” had such potency. When hip-hop artists say, “That’s really ill.”
I love the fertility of slang. I love the way mass culture, and its technological limitations, and then its new breaths does funny things to language. I tell my students about this. I say, “You know the way how in ’30s movies, the women are always sweeping around going, ‘Oh, darling,’ in The Thin Man, and there’s this ‘Hi, honey . . .’” [laughs]
If you watch a ’30s movie, and then you watch a ’50s movie, and you see the plasticity and the ingenuity that human beings put into . . . We don’t say, “Hey, kid.” We don’t call anyone a kid anymore. It sounds really archaic and corny.
Definitely recommended, interesting throughout. We talked about Shaq too. After the conversation ended, Elisa said something striking to me, something like: “I liked this conversation because you didn’t ask me about “the humanities,” you asked me about poetry.”
A correspondent writes to me:
Isn’t it weird that the best ideas we have just…. pop into your head? I have no idea how to trace them. They just show up.
@Tyler any research into this area?
Dean Keith Simonton springs readily to mind, noting he has a new book coming out this year on genius. Here are some overview pieces on simultaneous discovery, and of course those tend to stress environmental factors. Here are some approaches to the multiplicative model of creative achievement. I am a fan of that one. What else?
Is this article evidence that we (I?) are living in a simulation? Or did the editors of The Economist place it as an Easter Egg for me?:
The building, which was once called a “vertical slum” by a Singaporean legislator, is a densely packed mix of residential and commercial units. Along with People’s Park in Chinatown (pictured), which has been praised by the Dutch architect Rem Koolhaas, it is among a handful of Brutalist buildings that were built in a surge of architectural confidence after the country became independent in 1965. They are particularly adored by those who love concrete, as well as bold and wacky colours.
Modernist buffs have started to fret that many of these Brutalist buildings will soon be gone. In February one of them, Pearl Bank, once the highest residential tower in Singapore, was sold for S$728m ($544m) to CapitaLand, one of Asia’s largest real-estate developers. The company plans to demolish the yellow horseshoe structure and build a “high-rise residential development” of 800 flats in its place.
David was in top form, and I feel this exchange reflected his core style very well, here is the audio and transcript.
We covered why people stay so lonely, whether the Amish are happy, life in Italy, the Whig tradition, the secularization thesis, the importance of covenants, whether Judaism or Christianity has a deeper reading of The Book of Exodus, whether Americans undervalue privacy, Bruce Springsteen vs. Bob Dylan, whether our next president will be a boring manager, and last but not least the David Brooks production function.
Here is one excerpt:
COWEN: Walt Whitman, not only as a poet, but as a foundational thinker for America. Overrated or underrated?
BROOKS: I’d have to say slightly overrated.
COWEN: Tell us why.
BROOKS: I think his spirit and his energy sort of define America. His essay “Democratic Vistas” is one of my favorite essays. It captures both the vulgarity of America, but the energy and especially the business energy of America. But if we think the rise of narcissism is a problem in our society, Walt Whitman is sort of the holy spring there.
COWEN: Socrates, overrated or underrated?
BROOKS: [laughs] This is so absurd.
BROOKS: With everybody else it’s like Breaking Bad, overrated or underrated? I got Socrates.
BROOKS: I will say Socrates is overrated for this reason. We call them dialogues. But really, if you read them, they’re like Socrates making a long speech and some other schmo saying, “Oh yes. It must surely be so, Socrates.”
BROOKS: So it’s not really a dialogue, it’s just him speaking with somebody else affirming.
COWEN: And it’s Plato reporting Socrates. So it’s Plato’s monologue about a supposed dialogue, which may itself be a monologue.
BROOKS: Yeah. It was all probably the writers.
And on Milton Friedman:
BROOKS: I was a student at the University of Chicago, and they did an audition, and I was socialist back then. It was a TV show PBS put on, called Tyranny of the Status Quo, which was “Milton talks to the young.” So I studied up on my left-wing economics, and I went out there to Stanford. I would make my argument, and then he would destroy it in six seconds or so. And then the camera would linger on my face for 19 or 20 seconds, as I tried to think of what to say.
And it was like, he was the best arguer in human history, and I was a 22-year-old. It was my TV debut — you can go on YouTube. I have a lot of hair and big glasses. But I will say, I had never met a libertarian before. And every night — we taped for five days — every night he took me and my colleagues out to dinner in San Francisco and really taught us about economics.
Later, he stayed close to me. I called him a mentor. I didn’t become a libertarian, never quite like him, but a truly great teacher and a truly important influence on my life and so many others. He was a model of what an academic economist should be like.
Recommended. (And I actually thought David did just fine in that early exchange with Friedman.)
Gonder was at the height of its prosperity at the turn of the eighteenth century, when it may have had a population of seventy thousand. Emperor Fasilidades, who founded the new capital around 1635, obviously hoped to create a strong center around which the remnants of the Christian north could rally. He picked a beautiful site, a flat volcanic ridge at seven thousand feet surrounded by mountains on three sides, but with easy access to Lake Tana in the south. Gonder’s climate is warm during the day, cool at night, its two streams afforded plentiful water supplies and its hinterland abundant wood and produce.
Enough of an urban economy arose to sustain architecture, music, poetry, literature, painting, calligraphy, and educational, religious, and social institutions. The emperors appeared in considerable state, surrounded by courtiers, clergy, and soldiers…
The aristocracy and the monarchy supported the artists and artisans who put up buildings, illuminated manuscripts, decorates the interior of churches and palaces, and worked stone, wood, or pottery. The town’s castles and other monuments were built of hewn brown basalt blocks and contained features that derived from Axumite and Zagwe times as well as Portuguese models. They were concentrated in the center of the town, and provided a sharp contrast with the traditional round, thatched, mud wattled homes of the people.
That is all from the excellent Harold G. Marcus, A History of Ethiopia.
Bentham…appraised the trophies — dismissively dubbed “baked heads” — as technical innovations and recognized their potential for his own plans. He enthusiastically praised the “savage ingenuity.” An 1824 draft of his will was the first to contain the score of his wishes: first, to see the corpse as an inheritance…
According to legend, Behtam carried around the glass eyes intended for the Auto-Icon in his pocket in his final years. (Supposed) attempts to dehydrating body parts in his home oven are said to have yielded satisfactory results. Bentham believed the [Maori] mokomokai process would discolor facial traits and produce a parchment- or mummy-like appearance (which could be corrected with paint), while maintaining the physiognomy.
But Southwood Smith botched the job. He sprinkled sulfuric acid onto the head, and in doing so docked Bentham’s nose. He used an air pump to aid dehydration, which caused the skin to shrivel. Bentham’s face appeared melted, the physiognomy destroyed. In spring 1833, Smith commissioned a replacement head of wax…
That is from the new, excellent, and short The Radical Fool of Capitalism: On Jeremy Bentham, The Panopticon, and the Auto-Icon, by Christian Welzbacher.
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…