Category: The Arts
The Nicholas Fox Weber biography of Mondrian
Definitive, this is by far the best biography of Mondrian we have or are likely to get. I am a longstanding Mondrian fan, and have read much about him, but learned new things on virtually every page. The book is also fun, here is one excerpt:
Initially Mondrian did not respond at all [to a question about surrealism]. There was prolonged silence following Breton’s inquiry. Then, in the void, Duchamp added: “What, for example, do you think of the work of our friend Yves Tanguy here?” Mondrian’s reply, after more thoughtful chin stroking, came firmly, but calmly: “I enjoy conversational games as much as you do, but I shall not indulge in them. I have seen Tanguy’s exhibition at Pierre Matisse several times and found it very beautiful but very puzzling. Yves’ work is much too Abstract for me.”
You can order the book here. How is it that Weber — the author of numerous fine books on modernist art — does not have a Wikipedia page of his own?
AI-generated poetry is indistinguishable from human-written poetry and is rated more favorably
That is the title of a new paper in Nature, here is part of the abstract:
We conducted two experiments with non-expert poetry readers and found that participants performed below chance levels in identifying AI-generated poems (46.6% accuracy, χ2(1, N = 16,340) = 75.13, p < 0.0001). Notably, participants were more likely to judge AI-generated poems as human-authored than actual human-authored poems (χ2(2, N = 16,340) = 247.04, p < 0.0001). We found that AI-generated poems were rated more favorably in qualities such as rhythm and beauty, and that this contributed to their mistaken identification as human-authored. Our findings suggest that participants employed shared yet flawed heuristics to differentiate AI from human poetry: the simplicity of AI-generated poems may be easier for non-experts to understand, leading them to prefer AI-generated poetry and misinterpret the complexity of human poems as incoherence generated by AI.
By Brian Porter and Edouard Machery. I do not think that pointing out the poor quality of human taste much dents the import of this result.
AfD vs. Bauhaus
By their aesthetics shall ye know them:
It shaped modern industrial design and continues to inspire architects and product designers the world over, but to some on Germany’s far right, Bauhaus is nothing to celebrate.
As the East German city of Dessau prepares to celebrate next year’s centenary of the famed design school’s move there, the far-right Alternative for Germany (AfD) has urged local legislators not to glorify Bauhaus’ cosmopolitan style ethos, saying it negated regional traditions.
The AfD’s proposal, debated and roundly rejected by the state parliament of Saxony-Anhalt earlier this week, sparked a predictable outcry: Bauhaus was part of the interwar flourishing of German avant-garde culture that was stamped out by the Nazis when they came to power in 1933.
There are many losers, so it is a debatable question today which political movement has the best aesthetics…
What should I ask Paula Byrne?
Paula Jayne Byrne, Lady Bate…is a British biographer, novelist, and literary critic.
Byrne has a PhD in English literature from the University of Liverpool, where she also studied for her MA, having completed a BA in English and Theology at West Sussex Institute of Higher Education (now Chichester University).
Byrne is the founder and chief executive of a small charitable foundation, ReLit: The Bibliotherapy Foundation, dedicated to the promotion of literature as a complementary therapy in the toolkit of medical practitioners dealing with stress, anxiety and other mental health conditions. She is also a practicing psychotherapist, specializing in couples and family counseling.
Byrne, who is from a large working-class Roman Catholic family in Birkenhead, is married to Sir Jonathan Bate, Shakespeare scholar and former Provost of Worcester College, Oxford
Her books cover Jane Austen, Mary Robinson, Evelyn Waugh, Barbara Pym, JFK’s sister, two novels, and her latest is a study of Thomas Hardy’s women, both in his life and in his fiction, namely Hardy’s Women: Mother, Sister, Wives, Muses. Here is her home page. Here is Paula on Twitter.
My excellent Conversation with Tom Tugendhat
Here is the audio, video, and transcript. Here is the episode summary:
Tom Tugendhat has served as a Member of Parliament since 2015, holding roles such as Security Minister and chair of the Foreign Affairs Select Committee. Before entering Parliament, Tom served in in Iraq and Afghanistan. He also worked for the Foreign Office, helped establish the National Security Council of Afghanistan, and served as military assistant and principal adviser to the Chief of the Defense Staff.
Tyler and Tom examine the evolving landscape of governance and leadership in the UK today, touching on the challenges of managing London under the UK’s centralized system, why England remains economically unbalanced, his most controversial view on London’s architecture, whether YIMBYism in England can succeed, the unique politics and history of Kent, whether the system of private schools needs reform, his pick for the greatest unselected prime minister, whether Brexit revealed a defect in the parliamentary system, whether the House of Lords should be abolished, why the British monarchy continues to captivate the world, devolution in Scotland and Northern Ireland, how learning Arabic in Yemen affected his life trajectory, his read on the Middle East and Russia, the Tom Tugendhat production function, his pitch for why a talented young person should work in the British Civil Service, and more.
And here is an excerpt:
COWEN: Okay. First question, what is your favorite walk around London, and what does it show about the city that outsiders might not understand?
TUGENDHAT: Oh, my favorite walk is down the river. A lot of people walk down the river. One of the best things about walking down the river in London is, first of all, it shows two things. One, that London is actually an incredibly private place. You can be completely on your own in the center of one of the biggest cities in the world within seconds, just by walking down the river. Very often, even in the middle of the day, there’s nobody there. You walk past things that are just extraordinary. You walk past a customs house. It’s not used anymore, but it was the customs house for 300, 400, 500 years. You walk past, obviously, the Tower of London. You walk past Tower Bridge. You walk past many things like that.
Actually, you’re walking past a lot of modern London as well, and you see the reality of London, which is — the truth is, London isn’t a single city. It’s many, many different villages, all cobbled together in various different ways. I think outsiders miss the fact that there’s a real intimacy to London that you miss if all you’re doing is you’re going on the Tube, or if you’re going on the bus. If you walk down that river, you see a very, very different kind of London. You see real communities and real smaller communities.
And:
COWEN: Can the British system of government in its current parliamentary form — how well can that work without broadly liberal individualistic foundations in public opinion?
TUGENDHAT: I think it works extremely well at ensuring that truly liberal foundations are maintained. I mean that not in the American sense; I mean in a genuine, the old liberal tradition that emerges from the UK in the 1700s, 1800s, where freedom of thought, freedom of assembly, the right to own property, and all those principles that then became embedded in various different constitutions around the world, including your own. I think it does very well at doing that because it forces you, our system forces you, into partnership. There are 650 people who you have to work with in some way in Parliament over the next four or five years.
And there’s four of us currently going for leadership at the Conservative Party. There’s one reason why, despite the fact that we’re competing almost in a US primary system, the way in which we are dealing with each other is very different, is because we’re all going to have to work together for the next four years. Whoever wins is going to have to work with the other three, and the idea that you can simply ignore each other isn’t true. There’s only 121 of us Conservative MPs in Parliament, and what this system forces on us is the need to deal with each other in a way that you have to deal with somebody if you’re going to deal with them tomorrow. I think that’s one of the reasons why the British political system has endured because it forces you to remember that there’s a long-term interest, not an immediate one, not just a short-term one.
Recommended, highly intelligent throughout, including on China, Russia, and Yemen.
The case why culture is not stuck
From the excellent Katherine Dee, here is just one excerpt:
TikTok sketch comedy is in the same lineage of theater. It invites a suspension of disbelief from the audience, creators often play multiple characters, rapidly switching between roles with nothing more than a change in voice, facial expression, or camera angle. And importantly, it’s funny. When the whole feed is taken together, it’s almost digital vaudeville: a song, a short sketch, a physical feat, slapstick, animal acts and satire, one after another, in a personalized variety show on your phone.
And:
It’s a spectrum. At one end, we have Internet Personalities, with their cults of devotion. In the middle, we find fan culture, where some fans become prominent figures within their fandoms, stars in their own right. These Big Name Fans occasionally break out to create their own media kingdoms, as was the case with E.L. James, who authored Fifty Shades of Grey, itself originally Twilight fanfiction, and Cassandra Clare, who began in the Harry Potter fan community, before going on to write several popular fantasy series. At the other end of the spectrum are anonymous creators, whose approach to authorship is almost medieval: their projects are not about them as individuals, but the meme, the project, the aesthetic, the vision. They are less like the expressive individualists of Modern art, than the cathedral builders of the Middle Ages.
Much has been said about memes as art and the collective labor and imagination that goes into their creation, but it extends further than that. It’s not just memes. Creating mood boards on Pinterest or curating aesthetics on TikTok are evolving art forms, too. Constructing an atmosphere, or “vibe,” through images and sounds, is itself a form of storytelling, one that’s been woefully misunderstood and even undermined as shallow. Many of these aesthetics have staying power, like “coquette” and “cottagecore.” They’re not passing fads or stand-ins for personalities or subcultures. They are more than ever-evolving vectors for consumerism. They’re a type of immersive art that we don’t yet have the language to fully describe.
But that is the case with so much of what’s new. We won’t understand it until it’s in the rearview mirror.
Interesting throughout. Of course AI-aided creations will be the next step in this process. Maybe you don’t like a lot of these new forms, perhaps because they do not have the nobility and grandeur of say Bach. One simple point is that it is not optimal for every period in culture to focus on exactly what you want from it. This point is rarely recognized. Diversity across time is valuable as well!
Ian Leslie on Olivier Roy and culture
Roy argues that culture in the sense we have understood it is being inexorably eroded. It’s not, as some of his countrymen believe, that one culture is being replaced by another – say, Christianity by Islam. It’s that all culture is being hollowed out by technology, data, globalisation, bureaucracy, and consumerist individualism. Local cultures, in the sense of finely patterned, shared sensibilities, automatically absorbed and deeply felt, are no match for these bulldozing, ‘deculturating’ forces.
We still need shared norms of behaviour in order to function as societies, however. So in place of implicit culture, he says, we have introduced explicit “norms”: rules of behaviour and speech which aren’t felt or intuited but articulated, coded for, and argued over endlessly. Without instinctive standards for behaviour we have to thrash everything out, from the correct use of pronouns to how to behave on public transport or dress for work. “Culture war” implies some kind of profound division between people, but in truth, suggests Roy, our differences are shallow and petty and all the more bad-tempered for it. Scrape away culture and what you’re left with is negotiation. Everything is politics.
Complex, evolved, layered social identities are being replaced by a series of boxes, with freedom consisting of the right to choose your box at any one time (think about the way that sexual identity is coded into an endlessly multiplying series of letters). The oddly shaped flora and fauna of culture have been reduced a series of “tokens” which we buy and display in order to position ourselves versus others. National cuisines, musical genres, styles of dress: these are all just tokens for us to collect and artfully assemble into a personal brand.
Here is the full essay. Here is my earlier post on Roy’s book.
Civil War
I knew Civil War (now streaming on HBO/Max) was going to be good when just a minute or so in you see an explosion in the distance and only later do you hear the sound wave. [Mild spoilers may follow.] Shortly after, we meet war journalist Lee (Kirsten Dunst in a standout performance). I thought, “She looks like Lee Miller,” and seconds later, the name is dropped. In the next shot, Lee is in a bathtub—a clear sign you’re in the hands of a master. It is not without import that Lee Miller photographed Dachau or a little less obviously that she was a pioneer of the surreal. Both will reappear in Civil War.
In a scene where the journalists need to buy gas, they offer $300. The armed attendant scoffs, “$300 will get you a ham sandwich.” “$300 Canadian,” comes the reply, telling you everything you need to know about the state of the economy.
Civil War was written and directed by Alex Garland, who also made Annihilation, Ex Machina, and the underrated Dredd (the 2012 reboot not the Stallone movie). Many viewers expected Civil War to serve some lectures about red state/blue state politics, but it doesn’t. Tyler makes astute comments about the hidden politics (and reviews the movie here).
My interest was more on how the film portrays war—war is hell but it’s also fucking amazing. The photojournalists at the heart of the story justify their actions as serving a higher purpose, but in reality, they have become addicted to the adrenaline. Civil War shares themes with Nightcrawler. The journalists also share more than they think with the sick fucks who also love war because it gives them a chance to torture and kill.
A great scene at the climax incarnates the “when one dies, another is born” trope. The lead character starts to feel and gain a moral code, only to be killed for it, while the apprentice simultaneously sheds hers, emerging as a new, amoral hero. And it’s all caught on film. Karma is a bitch. The transition isn’t surprising given the logic of the setup but it is handled with originality and grace.
Recommended, given the obvious strictures about violence and serious themes.
How weird will AI culture get?
That is the topic of my latest Bloomberg column. Here is one excerpt:
To the extent there is a lot of slack [with cost and energy], AIs themselves will create wild products of the imagination, especially as they improve in computing power and skill. AIs will sing to each other, write for each other, talk to each other — as they already do — trade with each other, and come up with further alternatives we humans have not yet pondered. Evolutionary pressures within AI’s cultural worlds will determine which of these practices spread.
If you own some rights flows to AI usage, you might just turn them on and let them “do their thing.” Many people may give their AIs initial instructions for their culture-building: “Take your inspiration from 1960s hippies,” for example, or “try some Victorian poetry.” But most of the work will be done by the AIs themselves. It is easy to imagine how these productions might quickly become far more numerous than human-directed ones.
With a lot of slack, expect more movies and video, which consume a lot of computational energy. With less slack, text and poetry will be relatively cheaper and thus more plentiful.
In other words: In the not-too-distant future, what kind of culture the world produces could depend on the price of electricity.
It remains to be seen how much humans will be interested in these AI cultural productions. Perhaps some of them will fascinate us, but most are likely to bore us, just as few people sit around listening to whale songs. But even if the AI culture skeptics are largely correct, the sheer volume will make an impact, especially when combined with evolutionary refinement and more human-directed efforts. Humans may even like some of these productions, which will then be sold for a profit. That money could then be used to finance more AI cultural production, pushing the evolutionary process in a more popular direction.
With high energy prices, AI production will more likely fit into popular culture modes, if only to pay the bills. With lower energy prices, there will be more room for the avant-garde, for better or worse. Perhaps we would learn a lot more about the possibilities for 12-tone rows in music.
A weirder scenario is that AIs bid for the cultural products of humans, perhaps paying with crypto. But will they be able to tolerate our incessant noodling and narcissism? There might even be a columnist or two who makes a living writing for AIs, if only to give them a better idea what we humans are thinking.
The possibilities are limitless, and we are just beginning to wrap our minds around them. The truth is, we are on the verge of one of the most significant cultural revolutions the world has ever seen.
I urge the skeptics to wait and see. Of course most of it is going to be junk!
The French Olympic opening ceremony
I’ve only seen excerpts, but many people are upset. I can vouch “this is not what I would have done,” but perhaps the over the top, deviance-drenched modes of presentation are reflecting some longer-running strands in French culture. La Cage aux Folles? Le Bal des Folles? The whole Moulin Rouge direction? How about Gustave Moreau, not to mention his lower-quality followers? Jean Paul Gaultier? (NYT, “Fashion Freak Show”) Pierre et Gilles?
Zaza Fournier? Even Rabelais.
In my view, these styles work best on the painted canvas, thus Moreau is the one creator on the list I truly like. But please note these Olympics may be less of a break from traditional French culture — or some of its strands — than you may think at first.
My excellent Conversation with Brian Winter
Here is the video, audio, and transcript. Here is the episode summary:
It’s not just the churrasco that made him fall in love with Brazil. Brian Winter has been studying and writing about Latin America for over 20 years. He’s been tracking the struggles and triumphs of the region as it’s dealt with decades of coups, violence, and shifting economics. His work offers a nuanced perspective on Latin America’s persistent challenges and remarkable resilience.
Together Brian and Tyler discuss the politics and economics of nearly every country from the equator down. They cover the future of migration into Brazil, what it’s doing right in agriculture, the cultural shift in race politics, crime in Rio and São Paulo, the effectiveness and future consequences of Bukele’s police state in El Salvador, the economic growth of Colombia despite continued violence, the prevalence of startups and psychoanalysis in Argentina, Uruguay’s reduction in poverty levels, the beautiful ugliness of Sao Paulo, where Brian will explore next, and more.
And here is one excerpt;
COWEN: What’s the economic geography of Brazil going to look like? All the wealth near Mato Grosso and the north just very, very poor? Or the north empties out? How’s that going to work? There used to be some modest degree of balance.
WINTER: That’s true. Most of the population in Brazil and the economic center, for sure, was in the southeast. That means, really, São Paulo state, which is about a quarter of Brazil’s population but roughly a third of its GDP. Rio as well, and the state of Minas Gerais, which has a name that tells its history. That means “general mines” in Portuguese. That’s the area where a lot of the gold came out of in the 18th and 19th centuries. That’s gone now, so it’s not as much of an economic pull.
You’re right, Tyler, though, that a lot of the real boom right now, the action, is in places like Mato Grosso, which is in the region of Brazil called the Central West. That’s soy country. I’m from Texas, and Mato Grosso is virtually indistinguishable from Texas these days. It’s hot. It’s flat. The crop, like I said, is soy. There’s cattle ranching as well.
Even the music — Brazil, as others have noted, has gone from being the country of bossa nova and the samba in the 1970s to being the country of sertanejo today. Sertanejo is a Brazilian cousin of country music with accordions, but it’s sung by people — men mostly — in jeans, big belt buckles, and cowboy hats. They’re importing that — not only that economic model but that lifestyle as well.
COWEN: What is the great Brazilian music of today? MPB is dead, right? So, what should someone listen to?
Recommended, interesting throughout.
*Emergency Money*
The author is Tom Wilkinson, and the subtitle is Notgeld in the Image Economy of the German Inflation, 1914-1923. Notgeld, or emergency money, typically was privately issued to make up for the deficiencies of government money during that period.
It is hard to think of a book that is more “for me.” The book covers history, monetary economics, private currency issuance, and the artistic renderings put on the private notes. You can see plenty of desperation in those visuals, and clearly the 19th century seems like a long time ago. I read this one right away upon arrival.
You can buy it here. Here is a good short piece on the art.
Alice Evans on Nordic gender egalitarianism
So what’s the connection between hierarchy and patriarchy? It is my contention that if everyone is equal, it is much more acceptable for women to get to the top. No one is special. ‘Leaders’ are not due unique perks, privileges or power. Queuing by the roadside, they board the bus like commoners. Since everyone is respected, it is much more permissible for (low status) women to become politicians, clerics and bosses. What’s there to envy? The status gap is meagre. The rest of society acts as a reverse dominance coalition – keeping her power, esteem and ego in check.
By contrast, in hierarchical institutions, where status gaps loom large, it would be enormously unsettling for a (low status) woman to command prestige. If men must always bow and let her first speak first, it may grate their egos. Even for men who are perfectly supportive of female employment or gender equality in abstract, it might still be uncomfortable to literally kow-tow. The larger the hierarchy, the more distressing it may be to see a woman soar…
My theory helps explain why Scandinavian countries were quick to elect female leaders and share childcare. It also explains why management and politics remain so male-dominated in hierarchical Japan, Korea, Malaysia, Russia and Nigeria.
Here is the full post, and here is Alice’s more recent post on what paintings can tell us about British patriarchy.
*Cosmic Connections*
The author is Charles Taylor (yes, the Charles Taylor) and the subtitle is Poetry in the Age of Disenchantment. This book is a very good introduction to romanticism, and also to the poetry of romanticism, noting that its degree of originality may depend on how much you already know. I liked the chapters on Rilke and Mallarme best, here is one excerpt:
It follows that for Rilke, our full capacity to Praise can only be realized if we take account of the standpoint of the dead. The medium of Preisen is Gesang [song]. thus the voice which most fully carries this song would have to be that of the gold Orpheus, who moves in both realms, that of the living and that of the dead.
And the sonnet is the medium. As its name suggests, it is a poetic form which asks to be heard, and not only read on the page. These two modes of reception are essential to all poetry, but in the sonnet the musical dimension becomes the most important avenue to the message.
So a praise-song from both sides, that of the dead, as well as the living. They call on Orpheus, the singer-god who moves between the two realms. Hence the Sonnets to Orpheus.
I am very glad to see that Taylor is still at it, and 640 pp. at that. Furthermore, this book is (unintentionally?) a good means for thinking about just how much deculturation has taken place.
Kal Mansur
My first commissioned art work. A piece by artist Kal Mansur who I met in high school. It’s not a painting but an embedded 3D sculpture so the work changes in different lights and angles. You will perhaps note a homage to Frank Lloyd Wright.
