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kushnerha

What Architecture Is Doing to Your Brain - CityLab - 1 views

www.citylab.com/...382553

city lab research architecture brain science design meditation

shared by kushnerha on 08 Apr 16 - No Cached
  • Much of the student population would likely agree that the library’s menacing figure on the quad is nothing short of soul-crushing. New research conducted by a team of architects and neuroscientists suggests that architecture may indeed affect mental states, though they choose to focus on the positive.
  • I spoke with Dr. Julio Bermudez, the lead of a new study that uses fMRI to capture the effects of architecture on the brain. His team operates with the goal of using the scientific method to transform something opaque—the qualitative “phenomenologies of our built environment”—into neuroscientific observations that architects and city planners can deliberately design for. Bermudez and his team’s research question focuses on buildings and sites designed to elicit contemplation: They theorize that the presence of “contemplative architecture” in one’s environment may over time produce the same health benefits as traditional “internally induced” meditation, except with much less effort by the individual.
  • By showing 12 architects photos of contemplative and non-contemplative buildings from facade to interior, the researchers were able to observe the brain activity that occurred as subjects "imagined they were transported to the places being shown." All of the architects were white, right-handed men with no prior meditative training, creating the necessary (if comical) uniformity for neuroscientific research—the team wanted to ensure that the brain scans would not be influenced by factors unrelated to the photos, like gender, race, or handedness. For instance, the brain scans of left- and right-handed people often look different even when subjects are performing the same task.
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  • In addition to posing an interesting control on the experiment, the decision to use architects was a strategic one meant to increase the researchers’ chances of achieving conclusive results. Though everyone encounters architecture, studies on the built environment struggle for funding because, as Bermudez remarked with a sigh, “it’s difficult to suggest that people are dying from it.” Architects were a natural choice for the pilot study because, the team reasoned, their critical training and experience would make them sensitive to features of the buildings that a lay person might overlook.
  • they deployed online surveys in Spanish and English to gather testimony on extraordinary architectural experiences (EAEs), or encounters with places that fundamentally alter one’s normal state of being. Critically, most of the buildings or sites mentioned in the 2,982 testimonies were designed with contemplation in mind, whether spiritual, aesthetic, religious, or symbolic, leading the researchers to conclude that “buildings may induce insightful, profound, and transformative contemplative states, [and] buildings designed to provoke contemplation seem to be succeeding”
  • Anticipating skeptics who would claim that these experiences are subjective, the researchers expanded the question to draw on the established neuroscientific subfield of meditation, with some important differences. Related studies to date have focused on internally produced states that are easily replicated in the lab, and on aesthetic evaluation, or the activity that occurs in the orbital frontal cortex as we make snap judgments about whether we find things ugly or beautiful.
  • Bermudez and his team expected that architecturally induced contemplative states would be strong, non-evaluative aesthetic experiences— eliciting more activity in areas associated with emotion and pleasure, but less activity in the orbital frontal cortex.
  • The presence of an external stimulus (the photos of the buildings) also removes the tedious self-regulation that occurs in the prefrontal cortex during traditional meditation. The interviews of the 12 subjects revealed that “peacefulness and relaxation, lessening of mind wandering, increasing of attention, and deepening of experience” were all common effects of viewing the photos—also common was a slight element of aesthetic judgment, seemingly inescapable in the crowd of critics.
  • The provisional conclusions of the study are that the brain behaves differently when exposed to contemplative and non-contemplative buildings, contemplative states elicited through “architectural aesthetics” are similar to the contemplation of traditional meditation in some ways, and different in other ways, and, finally, that “architectural design matters.”
  • reinforces a growing trend in architecture and design as researchers are beginning to study how the built environment affects the people who live in it. ANFA proclaims that “some observers have characterized what is happening in neuroscience as the most exciting frontier of human discovery since the Renaissance.”
  • gritty details: the optimal ceiling heights for different cognitive functions; the best city design for eliciting our natural exploratory tendencies and making way-finding easier; the ideal hospital layout to improve memory-related tasks in patients recovering from certain brain injuries; the influence of different types and quantities of light within a built space on mood and performance.  
Javier E

Praising Andy Warhol - NYTimes.com - 1 views

opinionator.blogs.nytimes.com/...praising-andy-warhol

art great philosophy aesthetics

shared by Javier E on 15 Dec 12 - No Cached
  • Peter Schjeldahl, for example, calls Warhol a “genius” and a “great artist” and even says that “the gold standard of Warhol exposes every inflated value in other currencies.”
  •   If Warhol is a great artist and these boxes are among his most important works, what am I missing?
  • Appreciations of Warhol’s boxes typically emphasize their effects rather than their appearance.  These appreciations take two quite different forms.
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  • Warhol’s boxes are praised for subverting the distinction between mundane objects of everyday life and “art” in a museum.  As a result, we can enjoy and appreciate the things that make up our everyday life just as much as what we see in museums (and with far less effort).  Whereas the joys of traditional art typically require an initiation into an esoteric world of historical information and refined taste, Warhol’s “Pop Art” reveals the joys of what we all readily understand and appreciate.  As Danto put it, “Warhol’s intuition was that nothing an artist could do would give us more of what art sought than reality already gave us.”
  • Warhol’s work is also praised for posing a crucial philosophical question about art.  As Danto puts it: “Given two objects that look exactly alike, how is it possible for one of them to be a work of art and the other just an ordinary object?”  Answering this question requires realizing that there are no perceptual qualities that make something a work of art.  This in turn implies that anything, no matter how it looks, can be a work of art.
  • According to Danto, whether an object is a work of art depends on its relation to an “art world”:  “an atmosphere of artistic theory, a knowledge of the history of art” that exists at a particular time.
  • this explanation of Warhol’s greatness, contrary to the first one, makes art appreciation once again a matter of esoteric knowledge and taste, now focused on subtle philosophical puzzles about the nature of art.
  • it was Danto, not Warhol, who provided the intellectual/aesthetic excitement by formulating and developing a brilliant answer to the question.  To the extent that the philosophical question had artistic value in the context of the contemporary artworld,  Danto was more the artist than Warhol.
  • I agree that Warhol — along with many other artists from the 1950s on — opened up new ways of making art that traditional “high art” had excluded.  But new modes of artistic creation — commercial design techniques, performances, installations, conceptual art — do not guarantee a new kind or a higher quality of aesthetic experience. 
  • anything can be presented as a work of art.   But it does not follow that anything can produce a satisfying aesthetic experience.  The great works of the tradition do not circumscribe the sorts of things that can be art, but they are exemplars of what we expect a work of art to do to us.  (This is the sense in which, according to Kant, originally beautiful works of art are exemplary, yet without providing rules for further such works of art.)
  • Praise of Andy Warhol often emphasizes the new possibilities of artistic creation his work opened up.  That would make his work important in the history of art and for that reason alone of considerable interest.
  • as Jerrold Levinson and others have pointed out, a work can be an important artistic achievement without being an important aesthetic achievement.  This, I suggest, is how we should think about Warhol’s Brillo boxes.
Javier E

Adam Kirsch: Art Over Biology | The New Republic - 1 views

www.tnr.com/...es-darwin-evolution-art-kirsch

art Darwinian evolution success adaptation

shared by Javier E on 01 Aug 12 - Cached
  • Nietzsche, who wrote in Human, All Too Human, under the rubric “Art dangerous for the artist,” about the particular ill-suitedness of the artist to flourishing in a modern scientific age: When art seizes an individual powerfully, it draws him back to the views of those times when art flowered most vigorously.... The artist comes more and more to revere sudden excitements, believes in gods and demons, imbues nature with a soul, hates science, becomes unchangeable in his moods like the men of antiquity, and desires the overthrow of all conditions that are not favorable to art.... Thus between him and the other men of his period who are the same age a vehement antagonism is finally generated, and a sad end
  • What is modern is the sense of the superiority of the artist’s inferiority, which is only possible when the artist and the intellectual come to see the values of ordinary life—prosperity, family, worldly success, and happiness—as inherently contemptible.
  • Art, according to a modern understanding that has not wholly vanished today, is meant to be a criticism of life, especially of life in a materialist, positivist civilization such as our own. If this means the artist does not share in civilization’s boons, then his suffering will be a badge of honor.
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  • The iron law of Darwinian evolution is that everything that exists strives with all its power to reproduce, to extend life into the future, and that every feature of every creature can be explained as an adaptation toward this end. For the artist to deny any connection with the enterprise of life, then, is to assert his freedom from this universal imperative; to reclaim negatively the autonomy that evolution seems to deny to human beings. It is only because we can freely choose our own ends that we can decide not to live for life, but for some other value that we posit. The artist’s decision to produce spiritual offspring rather than physical ones is thus allied to the monk’s celibacy and the warrior’s death for his country, as gestures that deny the empire of mere life.
  • Animals produce beauty on their bodies; humans can also produce it in their artifacts. The natural inference, then, would be that art is a human form of sexual display, a way for males to impress females with spectacularly redundant creations.
  • For Darwin, the human sense of beauty was not different in kind from the bird’s.
  • Still, Darwin recognized that the human sense of beauty was mediated by “complex ideas and trains of thought,” which make it impossible to explain in terms as straightforward as a bird’s:
  • with the rise of evolutionary psychology, it was only a matter of time before the attempt was made to explain art in Darwinian terms. After all, if ethics and politics can be explained by game theory and reciprocal altruism, there is no reason why aesthetics should be different: in each case, what appears to be a realm of human autonomy can be reduced to the covert expression of biological imperatives
  • Put more positively, one might say that any given work of art can be discussed critically and historically, but not deduced from the laws of evolution.
  • Still, there is an unmistakable sense in discussions of Darwinian aesthetics that by linking art to fitness, we can secure it against charges of irrelevance or frivolousness—that mattering to reproduction is what makes art, or anything, really matter.
  • In particular, Darwin suggests that it is impossible to explain the history or the conventions of any art by the general imperatives of evolution
  • Dutton’s Darwinism was aesthetically conservative: “Darwinian aesthetics,” he wrote, “can restore the vital place of beauty, skill, and pleasure as high artistic values.” Dutton’s argument has recently been reiterated and refined by a number of new books,
  • “The universality of art and artistic behaviors, their spontaneous appearance everywhere across the globe ... and the fact that in most cases they can be easily recognized as artistic across cultures suggest that they derive from a natural, innate source: a universal human psychology.”
  • Again like language, art is universal in the sense that any local expression of it can be “learned” by anyone.
  • Yet earlier theorists of evolution were reluctant to say that art was an evolutionary adaptation like language, for the simple reason that it does not appear to be evolutionarily adaptive.
  • Stephen Jay Gould suggested that art was not an evolutionary adaptation but what he called a “spandrel”—that is, a showy but accidental by-product of other adaptations that were truly functiona
  • the very words “success” and “failure,” despite themselves, bring an emotive and ethical dimension into the discussion, so impossible is it for human beings to inhabit a valueless world. In the nineteenth century, the idea that fitness for survival was a positive good motivated social Darwinism and eugenics. Proponents of these ideas thought that in some way they were serving progress by promoting the flourishing of the human race, when the basic premise of Darwinism is that there is no such thing as progress or regress, only differential rates of reproduction
  • The first popular effort in this direction was the late Denis Dutton’s much-discussed book The Art Instinct, which appeared in 2009.
  • Boyd begins with the premise that human beings are pattern-seeking animals: both our physical perceptions and our social interactions are determined by our brain’s innate need to find and to
  • Art, then, can be defined as the calisthenics of pattern-finding. “Just as animal physical play refines performance, flexibility, and efficiency in key behaviors,” Boyd writes, “so human art refines our performance in our key perceptual and cognitive modes, in sight (the visual arts), sound (music), and social cognition (story). These three modes of art, I propose, are adaptations ... they show evidence of special design in humans, design that offers survival and especially reproductive advantages.”
  • make coherent patterns
Javier E

Eric Kandel's Visions - The Chronicle Review - The Chronicle of Higher Education - 0 views

chronicle.com/...131095

art aesthetics brain science research consciousness psychology

shared by Javier E on 18 Mar 12 - Cached
  • Judith, "barely clothed and fresh from the seduction and slaying of Holofernes, glows in her voluptuousness. Her hair is a dark sky between the golden branches of Assyrian trees, fertility symbols that represent her eroticism. This young, ecstatic, extravagantly made-up woman confronts the viewer through half-closed eyes in what appears to be a reverie of orgasmic rapture," writes Eric Kandel in his new book, The Age of Insight. Wait a minute. Writes who? Eric Kandel, the Nobel-winning neuroscientist who's spent most of his career fixated on the generously sized neurons of sea snails
  • Kandel goes on to speculate, in a bravura paragraph a few hundred pages later, on the exact neurochemical cognitive circuitry of the painting's viewer:
  • "At a base level, the aesthetics of the image's luminous gold surface, the soft rendering of the body, and the overall harmonious combination of colors could activate the pleasure circuits, triggering the release of dopamine. If Judith's smooth skin and exposed breast trigger the release of endorphins, oxytocin, and vasopressin, one might feel sexual excitement. The latent violence of Holofernes's decapitated head, as well as Judith's own sadistic gaze and upturned lip, could cause the release of norepinephrine, resulting in increased heart rate and blood pressure and triggering the fight-or-flight response. In contrast, the soft brushwork and repetitive, almost meditative, patterning may stimulate the release of serotonin. As the beholder takes in the image and its multifaceted emotional content, the release of acetylcholine to the hippocampus contributes to the storing of the image in the viewer's memory. What ultimately makes an image like Klimt's 'Judith' so irresistible and dynamic is its complexity, the way it activates a number of distinct and often conflicting emotional signals in the brain and combines them to produce a staggeringly complex and fascinating swirl of emotions."
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  • His key findings on the snail, for which he shared the 2000 Nobel Prize in Physiology or Medicine, showed that learning and memory change not the neuron's basic structure but rather the nature, strength, and number of its synaptic connections. Further, through focus on the molecular biology involved in a learned reflex like Aplysia's gill retraction, Kandel demonstrated that experience alters nerve cells' synapses by changing their pattern of gene expression. In other words, learning doesn't change what neurons are, but rather what they do.
  • In Search of Memory (Norton), Kandel offered what sounded at the time like a vague research agenda for future generations in the budding field of neuroaesthetics, saying that the science of memory storage lay "at the foothills of a great mountain range." Experts grasp the "cellular and molecular mechanisms," he wrote, but need to move to the level of neural circuits to answer the question, "How are internal representations of a face, a scene, a melody, or an experience encoded in the brain?
  • Since giving a talk on the matter in 2001, he has been piecing together his own thoughts in relation to his favorite European artists
  • The field of neuroaesthetics, says one of its founders, Semir Zeki, of University College London, is just 10 to 15 years old. Through brain imaging and other studies, scholars like Zeki have explored the cognitive responses to, say, color contrasts or ambiguities of line or perspective in works by Titian, Michelangelo, Cubists, and Abstract Expressionists. Researchers have also examined the brain's pleasure centers in response to appealing landscapes.
  • it is fundamental to an understanding of human cognition and motivation. Art isn't, as Kandel paraphrases a concept from the late philosopher of art Denis Dutton, "a byproduct of evolution, but rather an evolutionary adaptation—an instinctual trait—that helps us survive because it is crucial to our well-being." The arts encode information, stories, and perspectives that allow us to appraise courses of action and the feelings and motives of others in a palatable, low-risk way.
  • "as far as activity in the brain is concerned, there is a faculty of beauty that is not dependent on the modality through which it is conveyed but which can be activated by at least two sources—musical and visual—and probably by other sources as well." Specifically, in this "brain-based theory of beauty," the paper says, that faculty is associated with activity in the medial orbitofrontal cortex.
  • It also enables Kandel—building on the work of Gombrich and the psychoanalyst and art historian Ernst Kris, among others—to compare the painters' rendering of emotion, the unconscious, and the libido with contemporaneous psychological insights from Freud about latent aggression, pleasure and death instincts, and other primal drives.
  • Kandel views the Expressionists' art through the powerful multiple lenses of turn-of-the-century Vienna's cultural mores and psychological insights. But then he refracts them further, through later discoveries in cognitive science. He seeks to reassure those who fear that the empirical and chemical will diminish the paintings' poetic power. "In art, as in science," he writes, "reductionism does not trivialize our perception—of color, light, and perspective—but allows us to see each of these components in a new way. Indeed, artists, particularly modern artists, have intentionally limited the scope and vocabulary of their expression to convey, as Mark Rothko and Ad Reinhardt do, the most essential, even spiritual ideas of their art."
  • The author of a classic textbook on neuroscience, he seems here to have written a layman's cognition textbook wrapped within a work of art history.
  • "our initial response to the most salient features of the paintings of the Austrian Modernists, like our response to a dangerous animal, is automatic. ... The answer to James's question of how an object simply perceived turns into an object emotionally felt, then, is that the portraits are never objects simply perceived. They are more like the dangerous animal at a distance—both perceived and felt."
  • If imaging is key to gauging therapeutic practices, it will be key to neuroaesthetics as well, Kandel predicts—a broad, intense array of "imaging experiments to see what happens with exaggeration, distorted faces, in the human brain and the monkey brain," viewers' responses to "mixed eroticism and aggression," and the like.
  • while the visual-perception literature might be richer at the moment, there's no reason that neuroaesthetics should restrict its emphasis to the purely visual arts at the expense of music, dance, film, and theater.
  • although Kandel considers The Age of Insight to be more a work of intellectual history than of science, the book summarizes centuries of research on perception. And so you'll find, in those hundreds of pages between Kandel's introduction to Klimt's "Judith" and the neurochemical cadenza about the viewer's response to it, dossiers on vision as information processing; the brain's three-dimensional-space mapping and its interpretations of two-dimensional renderings; face recognition; the mirror neurons that enable us to empathize and physically reflect the affect and intentions we see in others; and many related topics. Kandel elsewhere describes the scientific evidence that creativity is nurtured by spells of relaxation, which foster a connection between conscious and unconscious cognition.
  • Zeki's message to art historians, aesthetic philosophers, and others who chafe at that idea is twofold. The more diplomatic pitch is that neuroaesthetics is different, complementary, and not oppositional to other forms of arts scholarship. But "the stick," as he puts it, is that if arts scholars "want to be taken seriously" by neurobiologists, they need to take advantage of the discoveries of the past half-century. If they don't, he says, "it's a bit like the guys who said to Galileo that we'd rather not look through your telescope."
  • Matthews, a co-author of The Bard on the Brain: Understanding the Mind Through the Art of Shakespeare and the Science of Brain Imaging (Dana Press, 2003), seems open to the elucidations that science and the humanities can cast on each other. The neural pathways of our aesthetic responses are "good explanations," he says. But "does one [type of] explanation supersede all the others? I would argue that they don't, because there's a fundamental disconnection still between ... explanations of neural correlates of conscious experience and conscious experience" itself.
  • There are, Matthews says, "certain kinds of problems that are fundamentally interesting to us as a species: What is love? What motivates us to anger?" Writers put their observations on such matters into idiosyncratic stories, psychologists conceive their observations in a more formalized framework, and neuroscientists like Zeki monitor them at the level of functional changes in the brain. All of those approaches to human experience "intersect," Matthews says, "but no one of them is the explanation."
  • "Conscious experience," he says, "is something we cannot even interrogate in ourselves adequately. What we're always trying to do in effect is capture the conscious experience of the last moment. ... As we think about it, we have no way of capturing more than one part of it."
  • Kandel sees art and art history as "parent disciplines" and psychology and brain science as "antidisciplines," to be drawn together in an E.O. Wilson-like synthesis toward "consilience as an attempt to open a discussion between restricted areas of knowledge." Kandel approvingly cites Stephen Jay Gould's wish for "the sciences and humanities to become the greatest of pals ... but to keep their ineluctably different aims and logics separate as they ply their joint projects and learn from each other."
Javier E

Grayson Perry's Reith Lectures: Who decides what makes art good? - FT.com - 0 views

www.ft.com/...17-11e3-9eec-00144feab7de.html

art nature Philosophy lectures

shared by Javier E on 15 Oct 13 - No Cached
  • I think this is one of the most burning issues around art – how do we tell if something is good? And who tells us that it’s good?
  • many of the methods of judging are very problematic and many of the criteria used to assess art are conflicting. We have financial value, popularity, art historical significance, or aesthetic sophistication. All these things could be at odds with each other.
  • A visitor to an exhibition like the Hockney one, if they were judging the quality of the art, might use a word like “beauty”. Now, if you use that kind of word in the art world, be very careful. There will be sucking of teeth and mournful shaking of heads because their hero, the artist Marcel Duchamp, of “urinal” fame, he said, “Aesthetic delectation is the danger to be avoided.” In the art world sometimes it can feel as if to judge something on its beauty, on its aesthetic merits, is as if you’re buying into something politically incorrect, into sexism, into racism, colonialism, class privilege. It almost feels it’s loaded, because where does our idea of beauty come from?
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  • beauty is very much about familiarity and it’s reinforcing an idea we have already. It’s like when we go on holiday, all we really want to do is take the photograph that we’ve seen in the brochure. Because our idea of beauty is constructed, by family, friends, education, nationality, race, religion, politics, all these things
  • I have found the 21st-century version of the Venetian secret and it is a mathematical formula. What you do, you get a half-decent, non-offensive kind of idea, then you times it by the number of studio assistants, and then you divide it with an ambitious art dealer, and that equals number of oligarchs and hedge fund managers in the world.
  • the nearest we have to an empirical measure of art that actually does exist is the market. By that reckoning, Cézanne’s “Card Players” is the most beautiful lovely painting in the world. I find it a little bit clunky-kitsch but that’s me. It’s worth $260m.
  • The opposite arguments are that it’s art for art’s sake and that’s a very idealistic position to take. Clement Greenberg, a famous art critic in the 1950s, said that art will always be tied to money by an umbilical cord of gold, either state money or market money. I’m pragmatic about it: one of my favourite quotes is you’ll never have a good art career unless your work fits into the elevator of a New York apartment block.
  • there’s one thing about that red painting that ends up in Sotheby’s. It’s not just any old red painting. It is a painting that has been validated. This is an important word in the art world and the big question is: who validates? There is quite a cast of characters in this validation chorus that will kind of decide what is good art. They are a kind of panel, if you like, that decides on what is good quality, what are we going to end up looking at?
  • They include artists, teachers, dealers, collectors, critics, curators, the media, even the public maybe. And they form this lovely consensus around what is good art.
  • there were four stages to the rise of an artist. Peers, serious critics and collectors, dealers, then the public.
  • Another member of that cast of validating characters is the collectors. In the 1990s, if Charles Saatchi just put his foot over the threshold of your exhibition, that was it. The media was agog and he would come in and Hoover it up. You do want the heavyweight collector to buy your work because that gives it kudos. You don’t want a tacky one who is just buying it to glitz up their hallway.
  • The next part of this chorus of validation are the dealers. A good dealer brand has a very powerful effect on the reputation of the artist; they form a part of placing the work. This is a slightly mysterious process that many people don’t quite understand but a dealer will choose where your work goes so it gains the brownie points, so the buzz around it goes up.
  • now, of course, galleries like the Tate Modern want a big name because visitor numbers, in a way, are another empirical measure of quality. So perhaps at the top of the tree of the validation cast are the curators, and in the past century they have probably become the most powerful giver-outers of brownie points in the art world.
  • ach of the encounters with these members of the cast of validation bestows upon the work, and on the artist, a patina, and what makes that patina is all these hundreds of little conversations and reviews and the good prices over time. These are the filters that pass a work of art through into the canon.
  • So what does this lovely consensus, that all these people are bestowing on this artwork, that anoints it with the quality that we all want, boil down to? I think in many ways what it boils down to is seriousness. That’s the most valued currency in the art world.
  • The whole idea of quality now seems to be contested, as if you’re buying into the language of the elite by saying, “Oh, that’s very good.” How you might judge this work is really problematic because to say it’s not beautiful is to put the wrong kind of criteria on it. You might say, “Oh, it’s dull!” [And people will say] “Oh, you’re just not understanding it with the right terms.” So I think, “Well, how do we judge these things?” Because a lot of them are quite politicised. There’s quite a right-on element to them, so do we judge them on how ethical they are, or how politically right-on they are?
  • What I am attempting to explain is how the art we see in museums and in galleries around the world, and in biennales – how it ends up there, how it gets chosen. In the end, if enough of the right people think it’s good, that’s all there is to it. But, as Alan Bennett said when he was a trustee of the National Gallery, they should put a big sign up outside saying: “You don’t have to like it all.”
  • Or then again I might say, “Well, what do I judge them against?” Do I judge them against government policy? Do I judge them against reality TV? Because that does participation very well. So, in the end, what do we do? What happens to this sort of art when it doesn’t have validation? What is it left with? It’s left with popularity.
  • Then, of course, the next group of people we might think about in deciding what is good art is the public. Since the mid-1990s, art has got a lot more media attention. But popularity has always been a quite dodgy quality [to have]. The highbrow critics will say, “Oh, he’s a bit of a celebrity,” and they turn their noses up about people who are well known to the public
Javier E

How Does the Brain Perceive Art? | Wired Science | Wired.com - 2 views

www.wired.com/...ow-does-the-brain-perceive-art

beauty judgment perception art

shared by Javier E on 25 Dec 11 - Cached
  • our aesthetic judgements are really complicated. While Rembrandt was an astonishingly talented artist, our response to his art is conditioned by all sorts of variables that have nothing to do with oil paint. Many of these variables are capable of distorting our perceptions, so that we imagine differences that don’t actually exist; the verdict of art history warps what we see. The power of a Rembrandt, in other words, is inseparable from the fact that it’s a Rembrandt. The man is a potent brand.
  • Our findings support the idea that when people make aesthetic judgements, they are subject to a variety of influences. Not all of these are immediately articulated. Indeed, some may be inaccessible to direct introspection but their presence might be revealed by brain imaging. It suggests that different regions of the brain interact together when a complex judgment is formed, rather than there being a single area of the brain that deals with aesthetic judgements.
  • We want to believe that pleasure is simple, that our delight in a fine painting or bottle of wine is due entirely to the thing itself. But that’s not the way reality works. Whenever we experience anything, that experience is shaped by factors and beliefs that are not visible on the canvas or present in the glass. Even the most exquisite works in the world — and what is more exceptional than a Rembrandt portrait? — still require a little mental help. We only see the beauty because we are looking for it.
Javier E

Economics of Good and Evil: The Quest for Economic Meaning from Gilgamesh to Wall Stree... - 1 views

DIIGO_FILE_HOME/7ui9/74ec4c99e72deda4a64da10692a15bf6

economics history literature good evil theory philosophy philosophers Bible Gilgamesh Adam Smith

shared by Javier E on 15 Aug 19 - No Cached
  • Instead of self-confident and self-centered answers, the author humbly asks fundamental questions: What is economics? What is its meaning? Where does this new religion, as it is sometimes called, come from? What are its possibilities and its limitations and borders, if there are any? Why are we so dependent on permanent growing of growth and growth of growing of growth? Where did the idea of progress come from, and where is it leading us? Why are so many economic debates accompanied by obsession and fanaticism?
  • The majority of our political parties act with a narrow materialistic focus when, in their programs, they present the economy and finance first; only then, somewhere at the end, do we find culture as something pasted on or as a libation for a couple of madmen.
  • most of them—consciously or unconsciously—accept and spread the Marxist thesis of the economic base and the spiritual superstructure.
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  • He tries to break free of narrow specialization and cross the boundaries between scientific disciplines. Expeditions beyond economics’ borders and its connection to history, philosophy, psychology, and ancient myths are not only refreshing, but necessary for understanding the world of the twenty-first century.
  • Reality is spun from stories, not from material. Zdeněk Neubauer
  • Before it was emancipated as a field, economics lived happily within subsets of philosophy—ethics, for example—miles away from today’s concept of economics as a mathematical-allocative science that views “soft sciences” with a scorn born from positivistic arrogance. But our thousand-year “education” is built on a deeper, broader, and oftentimes more solid base. It is worth knowing about.
  • Outside of our history, we have nothing more.
  • The study of the history of a certain field is not, as is commonly held, a useless display of its blind alleys or a collection of the field’s trials and errors (until we got it right), but history is the fullest possible scope of study of a menu that the given field can offer.
  • History of thought helps us to get rid of the intellectual brainwashing of the age, to see through the intellectual fashion of the day, and to take a couple of steps back.
  • “The separation between the history of a science, its philosophy, and the science itself dissolves into thin air, and so does the separation between science and non-science; differences between the scientific and unscientific are vanishing.”
  • we seek to chart the development of the economic ethos. We ask questions that come before any economic thinking can begin—both philosophically and, to a degree, historically. The area here lies at the very borders of economics—and often beyond. We may refer to this as protoeconomics (to borrow a term from protosociology) or, perhaps more fittingly, metaeconomics (to borrow a term from metaphysics).
  • stories; Adam Smith believed. As he puts it in The Theory of Moral Sentiments, “the desire of being believed, or the desire of persuading, of leading and directing other people, seems to be one of the strongest of all our natural desires.”
  • “The human mind is built to think in terms of narratives … in turn, much of human motivation comes from living through a story of our lives, a story that we tell to ourselves and that creates a framework of our motivation. Life could be just ‘one damn thing after another’ if it weren’t for such stories. The same is true for confidence in a nation, a company, or an institution. Great leaders are foremost creators of stories.”
  • contrary to what our textbooks say, economics is predominantly a normative field. Economics not only describes the world but is frequently about how the world should be (it should be effective, we have an ideal of perfect competition, an ideal of high-GDP growth in low inflation, the effort to achieve high competitiveness …). To this end, we create models, modern parables,
  • I will try to show that mathematics, models, equations, and statistics are just the tip of the iceberg of economics; that the biggest part of the iceberg of economic knowledge consists of everything else; and that disputes in economics are rather a battle of stories and various metanarratives than anything else.
  • That is the reason for this book: to look for economic thought in ancient myths and, vice versa, to look for myths in today’s economics.
  • is a paradox that a field that primarily studies values wants to be value-free. One more paradox is this: A field that believes in the invisible hand of the market wants to be without mysteries.
  • Almost all of the key concepts by which economics operates, both consciously and unconsciously, have a long history, and their roots extend predominantly outside the range of economics, and often completely beyond that of science.
  • The History of Animal Spirits: Dreams Never Sleep
  • In this sense, “the study of economics is too narrow and too fragmentary to lead to valid insight, unless complemented and completed by a study of metaeconomics.”17
  • The more important elements of a culture or field of inquiry such as economics are found in fundamental assumptions that adherents of all the various systems within the epoch unconsciously presuppose. Such assumptions appear so obvious that people do not know what they are assuming, because no other way of putting things has ever occurred to them, as the philosopher Alfred Whitehead notes in Adventures of Ideas.
  • I argue that economic questions were with mankind long before Adam Smith. I argue that the search for values in economics did not start with Adam Smith but culminated with him.
  • We should go beyond economics and study what beliefs are “behind the scenes,” ideas that have often become the dominant yet unspoken assumptions in our theories. Economics is surprisingly full of tautologies that economists are predominantly unaware of. I
  • argue that economics should seek, discover, and talk about its own values, although we have been taught that economics is a value-free science. I argue that none of this is true and that there is more religion, myth, and archetype in economics than there is mathematics.
  • In a way, this is a study of the evolution of both homo economicus and, more importantly, the history of the animal spirits within him. This book tries to study the evolution of the rational as well as the emotional and irrational side of human beings.
  • I argue that his most influential contribution to economics was ethical. His other thoughts had been clearly expressed long before him, whether on specialization, or on the principle of the invisible hand of the market. I try to show that the principle of the invisible hand of the market is much more ancient and developed long before Adam Smith. Traces of it appear even in the Epic of Gilgamesh, Hebrew thought, and in Christianity, and it is expressly stated by Aristophanes and Thomas Aquinas.
  • This is not a book on the thorough history of economic thought. The author aims instead to supplement certain chapters on the history of economic thought with a broader perspective and analysis of the influences that often escape the notice of economists and the wider public.
  • Progress (Naturalness and Civilization)
  • The Economy of Good and Evil
  • from his beginnings, man has been marked as a naturally unnatural creature, who for unique reasons surrounds himself with external possessions. Insatiability, both material and spiritual, are basic human metacharacteristics, which appear as early as the oldest myths and stories.
  • the Hebrews, with linear time, and later the Christians gave us the ideal (or amplified the Hebrew ideal) we now embrace. Then the classical economists secularized progress. How did we come to today’s progression of progress, and growth for growth’s sake?
  • The Need for Greed: The History of Consumption and Labor
  • Metamathematics From where did economics get the concept of numbers as the very foundation of the world?
  • mathematics at the core of economics, or is it just the icing of the cake, the tip of the iceberg of our field’s inquiry?
  • idea that we can manage to utilize our natural egoism, and that this evil is good for something, is an ancient philosophical and mythical concept. We will also look into the development of the ethos of homo economicus, the birth of “economic man.”
  • All of economics is, in the end, economics of good and evil. It is the telling of stories by people of people to people. Even the most sophisticated mathematical model is, de facto, a story, a parable, our effort to (rationally) grasp the world around us.
  • Masters of the Truth
  • Originally, truth was a domain of poems and stories, but today we perceive truth as something much more scientific, mathematical. Where does one go (to shop) for the truth? And who “has the truth” in our epoch?
  • Our animal spirits (something of a counterpart to rationality) are influenced by the archetype of the hero and our concept of what is good.
  • The entire history of ethics has been ruled by an effort to create a formula for the ethical rules of behavior. In the final chapter we will show the tautology of Max Utility, and we will discuss the concept of Max Good.
  • The History of the Invisible Hand of the Market and Homo Economicus
  • We understand “economics” to mean a broader field than just the production, distribution, and consumption of goods and services. We consider economics to be the study of human relations that are sometimes expressible in numbers, a study that deals with tradables, but one that also deals with nontradables (friendship, freedom, efficiency, growth).
  • When we mention economics in this book, we mean the mainstream perception of it, perhaps as best represented by Paul Samuelson.
  • By the term homo economicus, we mean the primary concept of economic anthropology. It comes from the concept of a rational individual, who, led by narrowly egotistical motives, sets out to maximize his benefit.
  • the Epic of Gilgamesh bears witness to the opposite—despite the fact that the first written clay fragments (such as notes and bookkeeping) of our ancestors may have been about business and war, the first written story is mainly about great friendship and adventure.
  • there is no mention of either money or war; for example, not once does anyone in the whole epic sell or purchase something.5 No nation conquers another, and we do not encounter a mention even of the threat of violence.
  • is a story of nature and civilization, of heroism, defiance, and the battle against the gods, and evil; an epic about wisdom, immortality, and also futility.
  • Gilgamesh becomes a hero not only due to his strength, but also due to discoveries and deeds whose importance were in large part economic—direct gaining of construction materials in the case of felling the cedar forest, stopping Enkidu from devastating Uruk’s economy, and discovering new desert routes during his expeditions.
  • Even today, we often consider the domain of humanity (human relations, love, friendship, beauty, art, etc.) to be unproductive;
  • Even today we live in Gilgamesh’s vision that human relations—and therefore humanity itself—are a disturbance to work and efficiency; that people would perform better if they did not “waste” their time and energy on nonproductive things.
  • But it is in friendship where—often by-the-way, as a side product, an externality—ideas and deeds are frequently performed or created that together can altogether change the face of society.19 Friendship can go against an ingrained system in places where an individual does not have the courage to do so himself or herself.
  • As Joseph Stiglitz says, One of the great “tricks” (some say “insights”) of neoclassical economics is to treat labour like any other factor of production. Output is written as a function of inputs—steel, machines, and labour. The mathematics treats labour like any other commodity, lulling one into thinking of labour like an ordinary commodity, such as steel or plastic.
  • Even the earliest cultures were aware of the value of cooperation on the working level—today we call this collegiality, fellowship, or, if you want to use a desecrated term, comradeship. These “lesser relationships” are useful and necessary for society and for companies because work can be done much faster and more effectively if people get along with each other on a human level
  • But true friendship, which becomes one of the central themes of the Epic of Gilgamesh, comes from completely different material than teamwork. Friendship, as C. S. Lewis accurately describes it, is completely uneconomical, unbiological, unnecessary for civilization, and an unneeded relationship
  • Here we have a beautiful example of the power of friendship, one that knows how to transform (or break down) a system and change a person. Enkidu, sent to Gilgamesh as a punishment from the gods, in the end becomes his faithful friend, and together they set out against the gods. Gilgamesh would never have gathered the courage to do something like that on his own—nor would Enkidu.
  • Due to their friendship, Gilgamesh and Enkidu then intend to stand up to the gods themselves and turn a holy tree into mere (construction) material they can handle almost freely, thereby making it a part of the city-construct, part of the building material of civilization, thus “enslaving” that which originally was part of wild nature. This is a beautiful proto-example of the shifting of the borders between the sacred and profane (secular)—and to a certain extent also an early illustration of the idea that nature is there to provide cities and people with raw material and production resources.
  • started with Babylonians—rural nature becomes just a supplier of raw materials, resources (and humans the source of human resources). Nature is not the garden in which humans were created and placed, which they should care for and which they should reside in, but becomes a mere reservoir for natural (re)sources.
  • But labour is unlike any other commodity. The work environment is of no concern for steel; we do not care about steel’s well-being.16
  • Both heroes change—each from opposite poles—into humans. In this context, a psychological dimension to the story may be useful: “Enkidu (…) is Gilgamesh’s alter ego, the dark, animal side of his soul, the complement to his restless heart. When Gilgamesh found Enkidu, he changed from a hated tyrant into the protector of his city. (…)
  • To be human seems to be somewhere in between, or both of these two. We
  • this moment of rebirth from an animal to a human state, the world’s oldest preserved epic implicitly hints at something highly important. Here we see what early cultures considered the beginning of civilization. Here is depicted the difference between people and animals or, better, savages. Here the epic quietly describes birth, the awakening of a conscious, civilized human. We are witnesses to the emancipation of humanity from animals,
  • The entire history of culture is dominated by an effort to become as independent as possible from the whims of nature.39 The more developed a civilization is, the more an individual is protected from nature and natural influences and knows how to create around him a constant or controllable environment to his liking.
  • The price we pay for independence from the whims of nature is dependence on our societies and civilizations. The more sophisticated a given society is as a whole, the less its members are able to survive on their own as individuals, without society.
  • The epic captures one of the greatest leaps in the development of the division of labor. Uruk itself is one of the oldest cities of all, and in the epic it reflects a historic step forward in specialization—in the direction of a new social city arrangement. Because of the city wall, people in the city can devote themselves to things other than worrying about their own safety, and they can continue to specialize more deeply.
  • Human life in the city gains a new dimension and suddenly it seems more natural to take up issues going beyond the life span of an individual. “The city wall symbolizes as well as founds the permanence of the city as an institution which will remain forever and give its inhabitants the certainty of unlimited safety, allowing them to start investing with an outlook reaching far beyond the borders of individual life.
  • The wall around the city of Uruk is, among other things, a symbol of an internal distancing from nature, a symbol of revolts against submission to laws that do not come under the control of man and that man can at most discover and use to his benefit.
  • “The chief thing which the common-sense individual wants is not satisfactions for the wants he had, but more, and better wants.”47
  • If a consumer buys something, theoretically it should rid him of one of his needs—and the aggregate of things they need should be decreased by one item. In reality, though, the aggregate of “I want to have” expands together with the growing aggregate of “I have.”
  • can be said that Enkidu was therefore happy in his natural state, because all of his needs were satiated. On the other hand, with people, it appears that the more a person has, the more developed and richer, the greater the number of his needs (including the unsaturated ones).
  • the Old Testament, this relationship is perceived completely differently. Man (humanity) is created in nature, in a garden. Man was supposed to care for the Garden of Eden and live in harmony with nature and the animals. Soon after creation, man walks naked and is not ashamed, de facto the same as the animals. What is characteristic is that man dresses (the natural state of creation itself is not enough for him), and he (literally and figuratively) covers52 himself—in shame after the fall.53
  • Nature is where one goes to hunt, collect crops, or gather the harvest. It is perceived as the saturator of our needs and nothing more. One goes back to the city to sleep and be “human.” On the contrary, evil resides in nature. Humbaba lives in the cedar forest, which also happens to be the reason to completely eradicate it.
  • Symbolically, then, we can view the entire issue from the standpoint of the epic in the following way: Our nature is insufficient, bad, evil, and good (humane) occurs only after emancipation from nature (from naturalness), through culturing and education. Humanity is considered as being in civilization.
  • The city was frequently (at least in older Jewish writings) a symbol of sin, degeneration, and decadence—nonhumanity. The Hebrews were originally a nomadic nation, one that avoided cities. It is no accident that the first important city57 mentioned in the Bible is proud Babylon,58 which God later turns to dust.
  • is enough, for example, to read the Book of Revelation to see how the vision of paradise developed from the deep Old Testament period, when paradise was a garden. John describes his vision of heaven as a city—paradise is in New Jerusalem, a city where the dimensions of the walls(!) are described in detail, as are the golden streets and gates of pearl.
  • Hebrews later also chose a king (despite the unanimous opposition of God’s prophets) and settled in cities, where they eventually founded the Lord’s Tabernacle and built a temple for Him. The city of Jerusalem later gained an illustrious position in all of religion.
  • this time Christianity (as well as the influence of the Greeks) does not consider human naturalness to be an unambiguous good, and it does not have such an idyllic relationship to nature as the Old Testament prophets.
  • If a tendency toward good is not naturally endowed in people, it must be imputed from above through violence or at least the threat of violence.
  • If we were to look at human naturalness as a good, then collective social actions need a much weaker ruling hand. If people themselves have a natural tendency (propensity) toward good, this role does not have to be supplied by the state, ruler, or, if you wish, Leviathan.
  • How does this affect economics?
  • us return for the last time to the humanization of the wild Enkidu, which is a process we can perceive with a bit of imagination as the first seed of the principle of the market’s invisible hand, and therefore the parallels with one of the central schematics of economic thinking.
  • Sometimes it is better to “harness the devil to the plow” than to fight with him. Instead of summoning up enormous energy in the fight against evil, it is better to use its own energy to reach a goal we desire; setting up a mill on the turbulent river instead of futile efforts to remove the current. This is also how Saint Prokop approached it in one of the oldest Czech legends.
  • Enkidu caused damage and it was impossible to fight against him. But with the help of a trap, trick, this evil was transformed into something that greatly benefited civilization.
  • By culturing and “domesticating” Enkidu, humanity tamed the uncontrollable wild and chaotic evil
  • Enkidu devastated the doings (the external, outside-the-walls) of the city. But he was later harnessed and fights at the side of civilization against nature, naturalness, the natural state of things.
  • A similar motif appears a thousand years after the reversal, which is well known even to noneconomists as the central idea of economics: the invisible hand of the market.
  • A similar story (reforming something animally wild and uncultivated in civilizational achievement) is used by Thomas Aquinas in his teachings. Several centuries later, this idea is fully emancipated in the hands of Bernard Mandeville and his Fable of the Bees: or, Private Vices, Publick Benefits. The economic and political aspects of this idea are—often incorrectly—ascribed to Adam Smith.
  • Here the individual does not try anymore to maximize his goods or profits, but what is important is writing his name in human memory in the form of heroic acts or deeds.
  • immortality, one connected with letters and the cult of the word: A name and especially a written name survives the body.”77
  • After this disappointment, he comes to the edge of the sea, where the innkeeper Siduri lives. As tonic for his sorrow, she offers him the garden of bliss, a sort of hedonistic fortress of carpe diem, where a person comes to terms with his mortality and at least in the course of the end of his life maximizes earthly pleasures, or earthly utility.
  • In the second stage, after finding his friend Enkidu, Gilgamesh abandons the wall and sets out beyond the city to maximalize heroism. “In his (…) search of immortal life, Gilgamesh
  • The hero refuses hedonism in the sense of maximizing terrestrial pleasure and throws himself into things that will exceed his life. In the blink of an eye, the epic turns on its head the entire utility maximization role that mainstream economics has tirelessly tried to sew on people as a part of their nature.81
  • It is simpler to observe the main features of our civilization at a time when the picture was more readable—at a time when our civilization was just being born and was still “half-naked.” In other words, we have tried to dig down to the bedrock of our written civilization;
  • today remember Gilgamesh for his story of heroic friendship with Enkidu, not for his wall, which no longer reaches monumental heights.
  • the eleventh and final tablet, Gilgamesh again loses what he sought. Like Sisyphus, he misses his goal just before the climax
  • is there something from it that is valid today? Have we found in Gilgamesh certain archetypes that are in us to this day?
  • The very existence of questions similar to today’s economic ones can be considered as the first observation. The first written considerations of the people of that time were not so different from those today. In other words: The epic is understandable for us, and we can identify with it.
  • We have also been witnesses to the very beginnings of man’s culturing—a great drama based on a liberation and then a distancing from the natural state.
  • Let us take this as a memento in the direction of our restlessness, our inherited dissatisfaction and the volatility connected to it. Considering that they have lasted five thousand years and to this day we find ourselves in harmony with a certain feeling of futility, perhaps these characteristics are inherent in man.
  • Gilgamesh had a wall built that divided the city from wild nature and created a space for the first human culture. Nevertheless, “not even far-reaching works of civilization could satisfy human desire.”
  • Friendship shows us new, unsuspected adventures, gives us the opportunity to leave the wall and to become neither its builder nor its part—to not be another brick in the wall.
  • with the phenomenon of the creation of the city, we have seen how specialization and the accumulation of wealth was born, how holy nature was transformed into a secular supplier of resources, and also how humans’ individualistic ego was emancipated.
  • to change the system, to break down that which is standing and go on an expedition against the gods (to awaken, from naïveté to awakening) requires friendship.
  • For small acts (hunting together, work in a factory), small love is enough: Camaraderie. For great acts, however, great love is necessary, real love: Friendship. Friendship that eludes the economic understanding of quid pro quo. Friendship gives. One friend gives (fully) for the other. That is friendship for life and death,
  • The thought that humanity comes at the expense of efficiency is just as old as humanity itself—as we have shown, subjects without emotion are the ideal of many tyrants.
  • The epic later crashes this idea through the friendship of Gilgamesh and Enkidu. Friendship—the biologically least essential love, which at first sight appears to be unnecessary
  • less a civilized, city person is dependent on nature, the more he or she is dependent on the rest of society. Like Enkidu, we have exchanged nature for society; harmony with (incalculable) nature for harmony with (incalculable) man.
  • human nature good or evil? To this day these questions are key for economic policy: If we believe that man is evil in his nature, therefore that a person himself is dog eat dog (animal), then the hard hand of a ruler is called for. If we believe that people in and of themselves, in their nature, gravitate toward good, then it is possible to loosen up the reins and live in a society that is more laissez-faire.
  • For a concept of historical progress, for the undeification of heroes, rulers, and nature, mankind had to wait for the Hebrews.
  • Because nature is not undeified, it is beyond consideration to explore it, let alone intervene in it (unless a person was a two-thirds god like Gilgamesh). It
  • They practiced money lending, traded in many assets (…) and especially were engaged in the trading of shares on capital markets, worked in currency exchange and frequently figured as mediators in financial transactions (…), they functioned as bankers and participated in emissions of all possible forms.
  • As regards modern capitalism (as opposed to the ancient and medieval periods) … there are activities in it which are, in certain forms, inherently (and completely necessarily) present—both from an economic and legal standpoint.7
  • As early as the “dark” ages, the Jews commonly used economic tools that were in many ways ahead of their time and that later became key elements of the modern economy:
  • Gilgamesh’s story ends where it began. There is a consistency in this with Greek myths and fables: At the end of the story, no progress occurs, no essential historic change; the story is set in indefinite time, something of a temporal limbo.
  • Jews believe in historical progress, and that progress is in this world.
  • For a nation originally based on nomadism, where did this Jewish business ethos come from? And can the Hebrews truly be considered as the architects of the values that set the direction of our civilization’s economic thought?
  • Hebrew religiosity is therefore strongly connected with this world, not with any abstract world, and those who take pleasure in worldly possessions are not a priori doing anything wrong.
  • PROGRESS: A SECULARIZED RELIGION One of the things the writers of the Old Testament gave to mankind is the idea and notion of progress. The Old Testament stories have their development; they change the history of the Jewish nation and tie in to each other. The Jewish understanding of time is linear—it has a beginning and an end.
  • The observance of God’s Commandments in Judaism leads not to some ethereal other world, but to an abundance of material goods (Genesis 49:25–26, Leviticus 26:3–13, Deuteronomy 28:1–13) (…) There are no accusing fingers pointed at
  • There are no echoes of asceticism nor for the cleansing and spiritual effect of poverty. It is fitting therefore, that the founders of Judaism, the Patriarchs Abraham, Isaac and Jacob, were all wealthy men.12
  • about due to a linear understanding of history. If history has a beginning as well as an end, and they are not the same point, then exploration suddenly makes sense in areas where the fruits are borne only in the next generation.
  • What’s more, economic progress has almost become an assumption of modern functional societies. We expect growth. We take it automatically. Today, if nothing “new” happens, if GDP does not grow (we say it stagnates) for several quarters, we consider it an anomaly.
  • however, the idea of progress itself underwent major changes, and today we perceive it very differently. As opposed to the original spiritual conceptions, today we perceive progress almost exclusively in an economic or scientific-technological sense.
  • Because care for the soul has today been replaced by care for external things,
  • This is why we must constantly grow, because we (deep down and often implicitly) believe that we are headed toward an (economic) paradise on Earth.
  • Only since the period of scientific-technological revolution (and at a time when economics was born as an independent field) is material progress automatically assumed.
  • Jewish thought is the most grounded, most realistic school of thought of all those that have influenced our culture.17 An abstract world of ideas was unknown to the Jews. To this day it is still forbidden to even depict God, people, and animals in symbols, paintings, statues, and drawings.
  • economists have become key figures of great importance in our time (Kacířské eseje o filosofii dějin [Heretical Essays in the Philosophy of History]). They are expected to perform interpretations of reality, give prophetic services (macroeconomic forecasts), reshape reality (mitigate the impacts of the crisis, speed up growth), and, in the long run, provide leadership on the way to the Promised Land—paradise on Earth.
  • REALISM AND ANTIASCETICISM Aside from ideas of progress, the Hebrews brought another very fundamental contribution to our culture: The desacralization of heroes, nature, and rulers.
  • Voltaire writes: “It certain fact is, that in his public laws he [Moses] never so much as once made mention of a life to come, limiting all punishments and all rewards to the present life.”21
  • As opposed to Christianity, the concept of an extraterrestrial paradise or heaven was not developed much in Hebrew thought.19 The paradise of the Israelites—Eden—was originally placed on Earth at a given place in Mesopotamia20 and at a given time,
  • The Hebrews consider the world to be real—not just a shadow reflection of a better world somewhere in the cloud of ideas, something the usual interpretation of history ascribes to Plato. The soul does not struggle against the body and is not its prisoner, as Augustine would write later.
  • The land, the world, the body, and material reality are for Jews the paramount setting for divine history, the pinnacle of creation. This idea is the conditio sine qua non of the development of economics, something of an utterly earthly making,
  • The mythology of the hero-king was strongly developed in that period, which Claire Lalouette summarizes into these basic characteristics: Beauty (a perfect face, on which it is “pleasant to look upon,” but also “beauty,” expressed in the Egyptian word nefer, not only means aesthetics, but contains moral qualities as well),
  • THE HERO AND HIS UNDEIFICATION: THE DREAM NEVER SLEEPS The concept of the hero is more important than it might appear. It may be the remote origin of Keynes’s animal spirits, or the desire to follow a kind of internal archetype that a given individual accepts as his own and that society values.
  • This internal animator of ours, our internal mover, this dream, never sleeps and it influences our behavior—including economic behavior—more than we want to realize.
  • manliness and strength,28 knowledge and intelligence,29 wisdom and understanding, vigilance and performance, fame and renown (fame which overcomes enemies because “a thousand men would not be able to stand firmly in his presence”);30 the hero is a good shepherd (who takes care of his subordinates), is a copper-clad rampart, the shield of the land, and the defender of heroes.
  • Each of us probably has a sort of “hero within”—a kind of internal role-model, template, an example that we (knowingly or not) follow. It is very important what kind of archetype it is, because its role is dominantly irrational and changes depending on time and the given civilization.
  • The oldest was the so-called Trickster—a fraudster; then the culture bearer—Rabbit; the musclebound hero called Redhorn; and finally the most developed form of hero: the Twins.
  • the Egyptian ruler, just as the Sumerian, was partly a god, or the son of a god.31
  • Jacob defrauds his father Isaac and steals his brother Esau’s blessing of the firstborn. Moses murders an Egyptian. King David seduces the wife of his military commander and then has him killed. In his old age, King Solomon turns to pagan idols, and so on.
  • Anthropology knows several archetypes of heroes. The Polish-born American anthropologist Paul Radin examined the myths of North American Indians and, for example, in his most influential book, The Trickster, he describes their four basic archetypes of heroes.
  • The Torah’s heroes (if that term can be used at all) frequently make mistakes and their mistakes are carefully recorded in the Bible—maybe precisely so that none of them could be deified.32
  • We do not have to go far for examples. Noah gets so drunk he becomes a disgrace; Lot lets his own daughters seduce him in a similar state of drunkenness. Abraham lies and (repeatedly) tries to sell his wife as a concubine.
  • the Hebrew heroes correspond most to the Tricksters, the Culture Bearers, and the Twins. The divine muscleman, that dominant symbol we think of when we say hero, is absent here.
  • To a certain extent it can be said that the Hebrews—and later Christianity—added another archetype, the archetype of the heroic Sufferer.35 Job
  • Undeification, however, does not mean a call to pillage or desecration; man was put here to take care of nature (see the story of the Garden of Eden or the symbolism of the naming of the animals). This protection and care of nature is also related to the idea of progress
  • For the heroes who moved our civilization to where it is today, the heroic archetypes of the cunning trickster, culture bearer, and sufferer are rather more appropriate.
  • the Old Testament strongly emphasizes the undeification of nature.37 Nature is God’s creation, which speaks of divinity but is not the domain of moody gods
  • This is very important for democratic capitalism, because the Jewish heroic archetype lays the groundwork much better for the development of the later phenomenon of the hero, which better suits life as we know it today. “The heroes laid down their arms and set about trading to become wealthy.”
  • in an Old Testament context, the pharaoh was a mere man (whom one could disagree with, and who could be resisted!).
  • RULERS ARE MERE MEN In a similar historical context, the Old Testament teachings carried out a similar desacralization of rulers, the so-called bearers of economic policy.
  • Ultimately the entire idea of a political ruler stood against the Lord’s will, which is explicitly presented in the Torah. The Lord unequivocally preferred the judge as the highest form of rule—an
  • The needs of future generations will have to be considered; after all humankind are the guardians of God’s world. Waste of natural resources, whether privately owned or nationally owned is forbidden.”39
  • Politics lost its character of divine infallibility, and political issues were subject to questioning. Economic policy could become a subject of examination.
  • 44 God first creates with the word and then on individual days He divides light from darkness, water from dry land, day from night, and so forth—and He gives order to things.45 The world is created orderly— it is wisely, reasonably put together. The way of the world is put together at least partially46 decipherably by any other wise and reasonable being who honors rational rules.
  • which for the methodology of science and economics is very important because disorder and chaos are difficult to examine scientifically.43 Faith in some kind of rational and logical order in a system (society, the economy) is a silent assumption of any (economic) examination.
  • THE PRAISE OF ORDER AND WISDOM: MAN AS A PERFECTER OF CREATION The created world has an order of sorts, an order recognizable by us as people,
  • From the very beginning, when God distances Himself from the entire idea, there is an anticipation that there is nothing holy, let alone divine, in politics. Rulers make mistakes, and it is possible to subject them to tough criticism—which frequently occurs indiscriminately through the prophets in the Old Testament.
  • Hebrew culture laid the foundations for the scientific examination of the world.
  • Examining the world is therefore an absolutely legitimate activity, and one that is even requested by God—it is a kind of participation in the Creator’s work.51 Man is called on to understand himself and his surroundings and to use his knowledge for good.
  • I was there when he set heavens in place, when he marked out the horizon on the face of the deep (…) Then I was the craftsman at his side.47
  • There are more urgings to gain wisdom in the Old Testament. “Wisdom calls aloud in the street (…): ‘How long will you simple ones love your simple ways?’”49 Or several chapters later: “Wisdom is supreme; therefore get wisdom. Though it cost all you have, get understanding.”50
  • examination is not forbidden. The fact that order can be grasped by human reason is another unspoken assumption that serves as a cornerstone of any scientific examination.
  • then, my sons, listen to me; blessed are those who keep my ways (…) Blessed is the man who listens to me, watching daily at my doors, waiting at my doorway. For whoever finds me finds life and receives favor from the Lord.
  • the rational examination of nature has its roots, surprisingly, in religion.
  • The Lord brought me forth as the first of his works, before his deeds of old. I was appointed from eternity, from the beginning, before the world began. When there were no oceans, I was given birth, when there were no springs abounding with water, before the mountains were settled in place,
  • The Book of Proverbs emphasizes specifically several times that it was wisdom that was present at the creation of the world. Wisdom personified calls out:
  • The last act, final stroke of the brush of creation, naming of the animals—this act is given to a human, it is not done by God, as one would expect. Man was given the task of completing the act of creation that the Lord began:
  • MAN AS A FINISHER OF CREATION The creation of the world, as it is explained in Jewish teachings, is described in the Book of Genesis. Here God (i) creates, (ii) separates, and (iii) names [my emphasis]:
  • Naming is a symbolic expression. In Jewish culture (and also in our culture to this day), the right to name meant sovereign rights and belonged, for example, to explorers (new places), inventors (new principles), or parents (children)—that is, to those who were there at the genesis, at the origin. This right was handed over by God to mankind.
  • The Naming itself (the capital N is appropriate) traditionally belongs to the crowning act of the Creator and represents a kind of grand finale of creation, the last move of the brush to complete the picture—a signature of the master.
  • Without naming, reality does not exist; it is created together with language. Wittgenstein tightly names this in his tractatus—the limits of our language are the limits of our world.53
  • He invented (fictitiously and completely abstractly!) a framework that was generally accepted and soon “made into” reality. Marx invented similarly; he created the notion of class exploitation. Through his idea, the perception of history and reality was changed for a large part of the world for nearly an entire century.
  • Reality is not a given; it is not passive. Perceiving reality and “facts” requires man’s active participation. It is man who must take the last step, an act (and we
  • How does this relate to economics? Reality itself, our “objective” world, is cocreated, man himself participates in the creation; creation, which is somewhat constantly being re-created.
  • Our scientific models put the finishing touches on reality, because (1) they interpret, (2) they give phenomena a name, (3) they enable us to classify the world and phenomena according to logical forms, and (4) through these models we de facto perceive reality.
  • When man finds a new linguistic framework or analytical model, or stops using the old one, he molds or remolds reality. Models are only in our heads; they are not “in objective reality.” In this sense, Newton invented (not merely discovered!) gravity.
  • A real-ization act on our part represents the creation of a construct, the imputation of sense and order (which is beautifully expressed by the biblical act of naming, or categorization, sorting, ordering).
  • Keynes enters into the history of economic thought from the same intellectual cadence; his greatest contribution to economics was precisely the resurrection of the imperceptible—for example in the form of animal spirits or uncertainty. The economist Piero Mini even ascribes Keynes’s doubting and rebellious approach to his almost Talmudic education.63
  • God connects man with the task of guarding and protecting the Garden of Eden, and thus man actually cocreates the cultural landscape. The Czech philosopher Zdeněk Neubauer also describes this: “Such is reality, and it is so deep that it willingly crystallizes into worlds. Therefore I profess that reality is a creation and not a place of occurrence for objectively given phenomena.”61
  • in this viewpoint it is possible to see how Jewish thought is mystical—it admits the role of the incomprehensible. Therefore, through its groundedness, Jewish thought indulges mystery and defends itself against a mechanistic-causal explanation of the world: “The Jewish way of thinking, according to Veblen, emphasizes the spiritual, the miraculous, the intangible.
  • The Jews believed the exact opposite. The world is created by a good God, and evil appears in it as a result of immoral human acts. Evil, therefore, is induced by man.66 History unwinds according to the morality of human acts.
  • What’s more, history seems to be based on morals; morals seem to be the key determining factors of history. For the Hebrews, history proceeds according to how morally its actors behave.
  • The Sumerians believed in dualism—good and evil deities exist, and the earth of people becomes their passive battlefield.
  • GOOD AND EVIL IN US: A MORAL EXPLANATION OF WELL-BEING We have seen that in the Epic of Gilgamesh, good and evil are not yet addressed systematically on a moral level.
  • This was not about moral-human evil, but rather a kind of natural evil. It is as if good and evil were not touched by morality at all. Evil simply occurred. Period.
  • the epic, good and evil are not envisaged morally—they are not the result of an (a)moral act. Evil was not associated with free moral action or individual will.
  • Hebrew thought, on the other hand, deals intensively with moral good and evil. A moral dimension touches the core of its stories.65
  • discrepancy between savings and investment, and others are convinced of the monetary essence
  • The entire history of the Jewish nation is interpreted and perceived in terms of morality. Morality has become, so to speak, a mover and shaker of Hebrew history.
  • sunspots. The Hebrews came up with the idea that morals were behind good and bad years, behind the economic cycle. But we would be getting ahead of ourselves. Pharaoh’s Dream: Joseph and the First Business Cycle To
  • It is the Pharaoh’s well-known dream of seven fat and seven lean cows, which he told to Joseph, the son of Jacob. Joseph interpreted the dream as a macroeconomic prediction of sorts: Seven years of abundance were to be followed by seven years of poverty, famine, and misery.
  • Self-Contradicting Prophecy Here, let’s make several observations on this: Through taxation74 on the level of one-fifth of a crop75 in good years to save the crop and then open granaries in bad years, the prophecy was de facto prevented (prosperous years were limited and hunger averted—through a predecessor of fiscal stabilization).
  • The Old Testament prophesies therefore were not any deterministic look into the future, but warnings and strategic variations of the possible, which demanded some kind of reaction. If the reaction was adequate, what was prophesied would frequently not occur at all.
  • This principle stands directly against the self-fulfilling prophecy,80 the well-known concept of social science. Certain prophecies become self-fulfilling when expressed (and believed) while others become self-contradicting prophecies when pronounced (and believed).
  • If the threat is anticipated, it is possible to totally or at least partially avoid it. Neither Joseph nor the pharaoh had the power to avoid bounty or crop failure (in this the dream interpretation was true and the appearance of the future mystical), but they avoided the impacts and implications of the prophecy (in this the interpretation of the dream was “false”)—famine did not ultimately occur in Egypt, and this was due to the application of reasonable and very intuitive economic policy.
  • Let us further note that the first “macroeconomic forecast” appears in a dream.
  • back to Torah: Later in this story we will notice that there is no reason offered as to why the cycle occurs (that will come later). Fat years will simply come, and then lean years after them.
  • Moral Explanation of a Business Cycle That is fundamentally different from later Hebrew interpretations, when the Jewish nation tries to offer reasons why the nation fared well or poorly. And those reasons are moral.
  • If you pay attention to these laws and are careful to follow them, then the Lord your God will keep his covenant of love with you, as he swore to your forefathers. He will love you and bless you and increase your numbers.
  • Only in recent times have some currents of economics again become aware of the importance of morals and trust in the form of measuring the quality of institutions, the level of justice, business ethics, corruption, and so forth, and examining their influence on the economy,
  • From today’s perspective, we can state that the moral dimension entirely disappeared from economic thought for a long time, especially due to the implementation of Mandeville’s concept of private vices that contrarily support the public welfare
  • Without being timid, we can say this is the first documented attempt to explain the economic cycle. The economic cycle, the explanation of which is to this day a mystery to economists, is explained morally in the Old Testament.
  • But how do we consolidate these two conflicting interpretations of the economic cycle: Can ethics be responsible for it or not? Can we influence reality around us through our acts?
  • it is not within the scope of this book to answer that question; justice has been done to the question if it manages to sketch out the main contours of possible searches for answers.
  • THE ECONOMICS OF GOOD AND EVIL: DOES GOOD PAY OFF? This is probably the most difficult moral problem we could ask.
  • Kant, the most important modern thinker in the area of ethics, answers on the contrary that if we carry out a “moral” act on the basis of economic calculus (therefore we carry out an hedonistic consideration; see below) in the expectation of later recompense, its morality is lost. Recompense, according to the strict Kant, annuls ethics.
  • Inquiring about the economics of good and evil, however, is not that easy. Where would Kant’s “moral dimension of ethics” go if ethics paid? If we do good for profit, the question of ethics becomes a mere question of rationality.
  • Job’s friends try to show that he must have sinned in some way and, in doing so, deserved God’s punishment. They are absolutely unable to imagine a situation in which Job, as a righteous man, would suffer without (moral) cause. Nevertheless, Job insists that he deserves no punishment because he has committed no offense: “God has wronged me and drawn his net around me.”94
  • But Job remains righteous, even though it does not pay to do so: Though he slay me, yet will I hope in him.95 And till I die, I will not deny my integrity I will maintain my righteousness and never let go of it; my conscience will not reproach me as long as I live.96
  • He remains righteous, even if his only reward is death. What economic advantage could he have from that?
  • morals cannot be considered in the economic dimension of productivity and calculus. The role of the Hebrews was to do good, whether it paid off or not. If good (outgoing) is rewarded by incoming goodness, it is a bonus,99 not a reason to do outgoing good. Good and reward do not correlate to each other.
  • This reasoning takes on a dimension of its own in the Old Testament. Good (incoming) has already happened to us. We must do good (outgoing) out of gratitude for the good (incoming) shown to us in the past.
  • So why do good? After all, suffering is the fate of many biblical figures. The answer can only be: For good itself. Good has the power to be its own reward. In this sense, goodness gets its reward, which may or may not take on a material dimension.
  • the Hebrews offered an interesting compromise between the teachings of the Stoics and Epicureans. We will go into it in detail later, so only briefly
  • constraint. It calls for bounded optimalization (with limits). A kind of symbiosis existed between the legitimate search for one’s own utility (or enjoyment of life) and maintaining rules, which are not negotiable and which are not subject to optimalization.
  • In other words, clear (exogenously given) rules exist that must be observed and cannot be contravened. But within these borders it is absolutely possible, and even recommended, to increase utility.
  • the mining of enjoyment must not come at the expense of exogenously given rules. “Judaism comes therefore to train or educate the unbounded desire … for wealth, so that market activities and patterns of consumption operate within a God-given morality.”102
  • The Epicureans acted with the goal of maximizing utility without regard for rules (rules developed endogenously, from within the system, computed from that which increased utility—this was one of the main trumps of the Epicurean school; they did not need exogenously given norms, and argued that they could “calculate” ethics (what to do) for every given situation from the situation itself).
  • The Stoics could not seek their enjoyment—or, by another name, utility. They could not in any way look back on it, and in no way could they count on it. They could only live according to rules (the greatest weakness of this school was to defend where exogenously the given rules came from and whether they are universal) and take a indifferent stand to the results of their actions.
  • To Love the Law The Jews not only had to observe the law (perhaps the word covenant would be more appropriate), but they were to love it because it was good.
  • Their relationship to the law was not supposed to be one of duty,105 but one of gratitude, love. Hebrews were to do good (outgoing), because goodness (incoming) has already been done to them.
  • This is in stark contrast with today’s legal system, where, naturally, no mention of love or gratefulness exists. But God expects a full internalization of the commandments and their fulfillment with love, not as much duty. By no means was this on the basis of the cost-benefit analyses so widespread in economics today, which determines when it pays to break the law and when not to (calculated on the basis of probability of being caught and the amount of punishment vis-à-vis the possible gain).
  • And now, O Israel, what does the Lord your God ask of you but to fear the Lord your God, to walk in all his ways, to love him, to serve the Lord your God with all your heart and with all your soul, and to observe the Lord’s commands and decrees that I am giving you today for your own good? To the Lord your God belong the heavens, even the highest heavens, the earth and everything in it. Yet the Lord set his affection on your forefathers and loved them….
  • the principle of doing good (outgoing) on the basis of a priori demonstrated good (incoming) was also taken over by the New Testament. Atonement itself is based on an a priori principle; all our acts are preceded by good.
  • The Hebrews, originally a nomadic tribe, preferred to be unrestrained and grew up in constant freedom of motion.
  • Human laws, if they are in conflict with the responsibilities given by God, are subordinate to personal responsibility, and a Jew cannot simply join the majority, even if it is legally allowed. Ethics, the concept of good, is therefore always superior to all local laws, rules, and customs:
  • THE SHACKLES OF THE CITY Owing to the Hebrew’s liberation from Egyptian slavery, freedom and responsibility become the key values of Jewish thought.
  • Laws given by God are binding for Jews, and God is the absolute source of all values,
  • The Hebrew ideal is represented by the paradise of the Garden of Eden, not a city.116 The despised city civilization or the tendency to see in it a sinful and shackling way of life appears in glimpses and allusions in many places in the Old Testament.
  • The nomadic Jewish ethos is frequently derived from Abraham, who left the Chaldean city of Ur on the basis of a command:
  • In addition, they were aware of a thin two-way line between owner and owned. We own material assets, but—to a certain extent—they own us and tie us down. Once we become used to a certain material
  • This way of life had understandably immense economic impacts. First, such a society lived in much more connected relationships, where there was no doubt that everyone mutually depended on each other. Second, their frequent wanderings meant the inability to own more than they could carry; the gathering up of material assets did not have great weight—precisely because the physical weight (mass) of things was tied to one place.
  • One of Moses’s greatest deeds was that he managed to explain to his nation once and for all that it is better to remain hungry and liberated than to be a slave with food “at no cost.”
  • SOCIAL WELFARE: NOT TO ACT IN THE MANNER OF SODOM
  • regulations is developed in the Old Testament, one we hardly find in any other nation of the time. In Hebrew teachings, aside from individual utility, indications of the concept of maximalizing utility societywide appear for the first time as embodied in the Talmudic principle of Kofin al midat S´dom, which can be translated as “one is compelled not to act in the manner of Sodom” and to take care of the weaker members of society.
  • In a jubilee year, debts were to be forgiven,125 and Israelites who fell into slavery due to their indebtedness were to be set free.126
  • Such provisions can be seen as the antimonopoly and social measures of the time. The economic system even then had a clear tendency to converge toward asset concentration, and therefore power as well. It would appear that these provisions were supposed to prevent this process
  • Land at the time could be “sold,” and it was not sale, but rent. The price (rent) of real estate depended on how long there was until a forgiveness year. It was about the awareness that we may work the land, but in the last instance we are merely “aliens and strangers,” who have the land only rented to us for a fixed time. All land and riches came from the Lord.
  • These provisions express a conviction that freedom and inheritance should not be permanently taken away from any Israelite. Last but not least, this system reminds us that no ownership lasts forever and that the fields we plow are not ours but the Lord’s.
  • Glean Another social provision was the right to glean, which in Old Testament times ensured at least basic sustenance for the poorest. Anyone who owned a field had the responsibility not to harvest it to the last grain but to leave the remains in the field for the poor.
  • Tithes and Early Social Net Every Israelite also had the responsibility of levying a tithe from their entire crop. They had to be aware from whom all ownership comes and, by doing so, express their thanks.
  • “Since the community has an obligation to provide food, shelter, and basic economic goods for the needy, it has a moral right and duty to tax its members for this purpose. In line with this duty, it may have to regulate markets, prices and competition, to protect the interests of its weakest members.”135
  • In Judaism, charity is not perceived as a sign of goodness; it is more of a responsibility. Such a society then has the right to regulate its economy in such a way that the responsibility of charity is carried out to its satisfaction.
  • With a number of responsibilities, however, comes the difficulty of getting them into practice. Their fulfillment, then, in cases when it can be done, takes place gradually “in layers.” Charitable activities are classified in the Talmud according to several target groups with various priorities, classified according to, it could be said, rules of subsidiarity.
  • Do not mistreat an alien or oppress him, for you were aliens in Egypt.140 As one can see, aside from widows and orphans, the Old Testament also includes immigrants in its area of social protection.141 The Israelites had to have the same rules apply for them as for themselves—they could not discriminate on the basis of their origin.
  • ABSTRACT MONEY, FORBIDDEN INTEREST, AND OUR DEBT AGE If it appears to us that today’s era is based on money and debt, and our time will be written into history as the “Debt age,” then it will certainly be interesting to follow how this development occurred.
  • Money is a social abstractum. It is a social agreement, an unwritten contract.
  • The first money came in the form of clay tablets from Mesopotamia, on which debts were written. These debts were transferable, so the debts became currency. In the end, “It is no coincidence that in English the root of ‘credit’ is ‘credo,’ the Latin for ‘I believe.’”
  • To a certain extent it could be said that credit, or trust, was the first currency. It can materialize, it can be embodied in coins, but what is certain is that “money is not metal,” even the rarest metal, “it is trust inscribed,”
  • Inseparably, with the original credit (money) goes interest. For the Hebrews, the problem of interest was a social issue: “If you lend money to one of my people among you who is needy, do not be like a moneylender; charge him no interest.”
  • there were also clearly set rules setting how far one could go in setting guarantees and the nonpayment of debts. No one should become indebted to the extent that they could lose the source of their livelihood:
  • In the end, the term “bank” comes from the Italian banci, or the benches that Jewish lenders sat on.157
  • Money is playing not only its classical roles (as a means of exchange, a holder of value, etc.) but also a much greater, stronger role: It can stimulate, drive (or slow down) the whole economy. Money plays a national economic role.
  • In the course of history, however, the role of loans changed, and the rich borrowed especially for investment purposes,
  • Today the position and significance of money and debt has gone so far and reached such a dominant position in society that operating with debts (fiscal policy) or interest or money supply (monetary policy) means that these can, to a certain extent, direct (or at least strongly influence) the whole economy and society.
  • In such a case a ban on interest did not have great ethical significance. Thomas Aquinas, a medieval scholar (1225-1274), also considers similarly; in his time, the strict ban on lending with usurious interest was loosened, possibly due to him.
  • As a form of energy, money can travel in three dimensions, vertically (those who have capital lend to those who do not) and horizontally (speed and freedom in horizontal or geographic motion has become the by-product—or driving force?—of globalization). But money (as opposed to people) can also travel through time.
  • money is something like energy that can travel through time. And it is a very useful energy, but at the same time very dangerous as well. Wherever
  • Aristotle condemned interest162 not only from a moral standpoint, but also for metaphysical reasons. Thomas Aquinas shared the same fear of interest and he too argued that time does not belong to us, and that is why we must not require interest.
  • MONEY AS ENERGY: TIME TRAVEL AND GROSS DEBT PRODUCT (GDP)
  • Due to this characteristic, we can energy-strip the future to the benefit of the present. Debt can transfer energy from the future to the present.163 On the other hand, saving can accumulate energy from the past and send it to the present.
  • labor was not considered degrading in the Old Testament. On the contrary, the subjugation of nature is even a mission from God that originally belonged to man’s very first blessings.
  • LABOR AND REST: THE SABBATH ECONOMY
  • The Jews as well as Aristotle behaved very guardedly toward loans. The issue of interest/usury became one of the first economic debates. Without having an inkling of the future role of economic policy (fiscal and monetary), the ancient Hebrews may have unwittingly felt that they were discovering in interest a very powerful weapon, one that can be a good servant, but (literally) an enslaving master as well.
  • It’s something like a dam. When we build one, we are preventing periods of drought and flooding in the valley; we are limiting nature’s whims and, to a large extent, avoiding its incalculable cycles. Using dams, we can regulate the flow of water to nearly a constant. With it we tame the river (and we can also gain
  • But if we do not regulate the water wisely, it may happen that we would overfill the dam and it would break. For the cities lying in the valley, their end would be worse than if a dam were never there.
  • If man lived in harmony with nature before, now, after the fall, he must fight; nature stands against him and he against it and the animals. From the Garden we have moved unto a (battle)field.
  • Only after man’s fall does labor turn into a curse.168 It could even be said that this is actually the only curse, the curse of the unpleasantness of labor, that the Lord places on Adam.
  • Both Plato and Aristotle consider labor to be necessary for survival, but that only the lower classes should devote themselves to it so that the elites would not have to be bothered with it and so that they could devote themselves to “purely spiritual matters—art, philosophy, and politics.”
  • Work is also not only a source of pleasure but a social standing; It is considered an honor. “Do you see a man skilled in his work? He will serve before kings.”170 None of the surrounding cultures appreciate work as much. The idea of the dignity of labor is unique in the Hebrew tradition.
  • Hebrew thinking is characterized by a strict separation of the sacred from the profane. In life, there are simply areas that are holy, and in which it is not allowed to economize, rationalize, or maximize efficiency.
  • good example is the commandment on the Sabbath. No one at all could work on this day, not even the ones who were subordinate to an observant Jew:
  • the message of the commandment on Saturday communicated that people were not primarily created for labor.
  • Paradoxically, it is precisely this commandment out of all ten that is probably the most violated today.
  • Aristotle even considers labor to be “a corrupted waste of time which only burdens people’s path to true honour.”
  • we have days when we must not toil connected (at least lexically) with the word meaning emptiness: the English term “vacation” (or emptying), as with the French term, les vacances, or German die Freizeit, meaning open time, free time, but also…
  • Translated into economic language: The meaning of utility is not to increase it permanently but to rest among existing gains. Why do we learn how to constantly increase gains but not how to…
  • This dimension has disappeared from today’s economics. Economic effort has no goal at which it would be possible to rest. Today we only know growth for growth’s sake, and if our company or country prospers, that does not…
  • Six-sevenths of time either be dissatisfied and reshape the world into your own image, man, but one-seventh you will rest and not change the creation. On the seventh day, enjoy creation and enjoy the work of your hands.
  • the purpose of creation was not just creating but that it had an end, a goal. The process was just a process, not a purpose. The whole of Being was created so…
  • Saturday was not established to increase efficiency. It was a real ontological break that followed the example of the Lord’s seventh day of creation. Just as the Lord did not rest due to tiredness or to regenerate strength; but because He was done. He was done with His work, so that He could enjoy it, to cherish in His creation.
  • If we believe in rest at all today, it is for different reasons. It is the rest of the exhausted machine, the rest of the weak, and the rest of those who can’t handle the tempo. It’s no wonder that the word “rest…
  • Related to this, we have studied the first mention of a business cycle with the pharaoh’s dream as well as seen a first attempt (that we may call…
  • We have tried to show that the quest for a heaven on Earth (similar to the Jewish one) has, in its desacralized form, actually also been the same quest for many of the…
  • We have also seen that the Hebrews tried to explain the business cycle with morality and ethics. For the Hebrews,…
  • ancient Greek economic ethos, we will examine two extreme approaches to laws and rules. While the Stoics considered laws to be absolutely valid, and utility had infinitesimal meaning in their philosophy, the Epicureans, at least in the usual historical explanation, placed utility and pleasure in first place—rules were to be made based on the principle of utility.
  • CONCLUSION: BETWEEN UTILITY AND PRINCIPLE The influence of Jewish thought on the development of market democracy cannot be overestimated. The key heritage for us was the lack of ascetic perception of the world, respect to law and private…
  • We have tried to show how the Torah desacralized three important areas in our lives: the earthly ruler, nature,…
  • What is the relationship between the good and evil that we do (outgoing) and the utility of disutility that we (expect to) get as a reward (incoming)? We have seen…
  • The Hebrews never despised material wealth; on contrary, the Jewish faith puts great responsibility on property management. Also the idea of progress and the linear perception of time gives our (economic)…
  • the Hebrews managed to find something of a happy compromise between both of these principles.
  • will not be able to completely understand the development of the modern notion of economics without understanding the disputes between the Epicureans and the Stoics;
  • poets actually went even further, and with their speech they shaped and established reality and truth. Honor, adventure, great deeds, and the acclaim connected with them played an important role in the establishment of the true, the real.
  • those who are famous will be remembered by people. They become more real, part of the story, and they start to be “realized,” “made real” in the lives of other people. That which is stored in memory is real; that which is forgotten is as if it never existed.
  • Today’s scientific truth is founded on the notion of exact and objective facts, but poetic truth stands on an interior (emotional) consonance with the story or poem. “It is not addressed first to the brain … [myth] talks directly to the feeling system.”
  • “epic and tragic poets were widely assumed to be the central ethical thinkers and teachers of Greece; nobody thought of their work as less serious, less aimed at truth, than the speculative prose treatises of historians and philosophers.”5 Truth and reality were hidden in speech, stories, and narration.
  • Ancient philosophy, just as science would later, tries to find constancy, constants, quantities, inalterabilities. Science seeks (creates?) order and neglects everything else as much as it can. In their own experiences, everyone knows that life is not like that,
  • Just as scientists do today, artists drew images of the world that were representative, and therefore symbolic, picturelike, and simplifying (but thus also misleading), just like scientific models, which often do not strive to be “realistic.”
  • general? In the end, poetry could be more sensitive to the truth than the philosophical method or, later, the scientific method. “Tragic poems, in virtue of their subject matter and their social function, are likely to confront and explore problems about human beings and luck that a philosophical text might be able to omit or avoid.”8
Javier E

Partially Examined Life Ep. 77: Santayana on Beauty | The Partially Examined Life Philo... - 0 views

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aesthetics beauty art

shared by Javier E on 27 Jun 13 - No Cached
  • The poet and philosopher Santayana thought that while aesthetic appreciation is an immediate experience–we don’t “infer” the beauty of something by recognizing some natural qualities that it has–we can nonetheless analyze the experience after the fact to uncover a number of grounds on which we might appreciate something.
  • He divides these into areas of matter (e.g. the pretty color or texture), form (the relations between perceived parts), and expression (what external to the work itself does it bring to mind?) and ends up being able to distinguish high art (form-centric) from more savage forms (centered on matter or expression) while distinguishing real appreciation (which can include any of the three elements) from mere pretension (when you don’t really have an immediate experience at all but merely recognize that you’re supposed to think that this is good).
Emilio Ergueta

Music in Philosophy | Issue 108 | Philosophy Now - 0 views

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music TOK

shared by Emilio Ergueta on 05 Jun 15 - No Cached
  • Today some universities have courses in the Philosophy of Music. They study such questions as: What is the definition of music? What makes us say that a particular set of sounds is music while another set of sounds is not? What is the relationship of music to the mind? How does music affect (a) our emotions, (b) our intellect? How can we evaluate the value of any given piece of music
  • There we can see what issues about music are being debated by the current academic establishment.
  • This is historical, describing what some individual philosophers have said about music. I could not find any website that gives an account of how significant philosophical ideas about music have developed over time. That time seems to me to end with Friedrich Nietzsche, who died in 1900. Since then, it seems to me, no great name in philosophy has given music a significant place in his philosophy – although there are of course many lesser philosophers who are not (relatively) household names who are referred to in the Encyclopedia.
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  • Pythagoras believed that “all things are number”: things come into existence when mathematical order is imposed on the formless stuff of the universe. He is believed to have come to this idea after discovering the importance of mathematics in music.
  • Musical order and beauty are similarly the result of order and harmony being carved out of cacophonous noise. Pythagoras also originated the idea of the heavenly ‘music of the spheres’, inaudible to us, made by the movement of the planets around the earth.
  • In his La Monadologie (Monadology, 1714), Gottfried Leibniz explained our response to art through subconscious perceptions (“les petites sensations”) of “the secret arithmetic” of intervals and other relationships in music and painting.
  • Immanuel Kant wrote a book on aesthetics, The Critique of Judgment (1790), in which he described aesthetic qualities as those which give us “disinterested pleasure”. They do this through their beauty, which Kant, as a classically-inclined thinker, saw in their harmony of form; or through their sublimity – meaning a perceived grandeur or power that does not threaten us.
  • Friedrich Schelling was the first of these transcendental idealists, and the first philosopher who thought that instrumental (as distinct from vocal) music was the purest and most disembodied of the arts, and enabled us not only to glimpse the Absolute – a word he coined, although Kant had talked about absolute truth being found in the Ding an Sich [‘the thing-in-itself’] – but during that experience, to see ourselves as an integral part of it. This idea would be taken much further still by:
Javier E

A 'Philosophy' of Plastic Surgery in Brazil - NYTimes.com - 0 views

opinionator.blogs.nytimes.com/...a-necessary-vanity

beauty aesthetics art rights self-image surgery power

shared by Javier E on 14 Aug 11 - No Cached
  • Is beauty a right, which, like education or health care, should be realized with the help of public institutions and expertise?
  • For years he has performed charity surgeries for the poor. More radically, some of his students offer free cosmetic operations in the nation’s public health system.
  • I asked her why she wanted to have the surgery.  “I didn’t put in an implant to exhibit myself, but to feel better. It wasn’t a simple vanity, but a  . . . necessary vanity.  Surgery improves a woman’s auto-estima.”
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  • He argues that the real object of healing is not the body, but the mind.  A plastic surgeon is a “psychologist with a scalpel in his hand.” This idea led Pitanguy to argue for the “union” of cosmetic and reconstructive procedures.  In both types of surgery beauty and mental healing subtly mingle, he claims, and both benefit health.
  • “What is the difference between a plastic surgeon and a psychoanalyst?  The psychoanalyst knows everything but changes nothing.  The plastic surgeon knows nothing but changes everything.”
  • Plastic surgery gained legitimacy in the early 20th century by limiting itself to reconstructive operations.  The “beauty doctor” was a term of derision.  But as techniques improved they were used for cosmetic improvements.  Missing, however, was a valid diagnosis. Concepts like psychoanalyst Alfred Adler’s inferiority complex — and later low self-esteem — provided a missing link.
  • Victorians saw a cleft palate as a defect that built character. For us it hinders self-realization and merits corrective surgery.  This shift reflects a new attitude towards appearance and mental health: the notion that at least some defects cause unfair suffering and social stigma is now widely accepted. But Brazilian surgeons take this reasoning a step further.  Cosmetic surgery is a consumer service in most of the world.  In Brazil it is becoming, as Ester put it, a “necessary vanity.”
  • Pitanguy, whose patients often have mixed African, indigenous and European ancestry, stresses that aesthetic ideals vary by epoch and ethnicity.  What matters are not objective notions of beauty, but how the patient feels.  As his colleague says, the job of the plastic surgeon is to simply “follow desires.”
  • Patients are on average younger than they were 20 years ago.  They often request minor changes to become, as one surgeon said, “more perfect.”
  • The growth of plastic surgery thus reflects a new way of working not only on the suffering mind, but also on the erotic body.  Unlike fashion’s embrace of playful dissimulation and seduction, this beauty practice instead insists on correcting precisely measured flaws.  Plastic surgery may contribute to a biologized view of sex where pleasure and fantasy matter less than the anatomical “truth” of the bare body.
  • It is not coincidental that Brazil has not only high rates of plastic surgery, but also Cesarean sections (70 percent of deliveries in some private hospitals), tubal ligations,  and other surgeries for women. Some women see elective surgeries as part of a modern standard of care, more or less routine for the middle class, but only sporadically available to the poor.
  • When a good life is defined through the ability to buy goods then rights may be reinterpreted to mean not equality before the law, but equality in the market. 
  • Beauty is unfair: the attractive enjoy privileges and powers gained without merit.  As such it can offend egalitarian values.  Yet while attractiveness is a quality “awarded” to those who don’t morally deserve it, it can also grant power to those excluded from other systems of privilege.  It is a kind of “double negative”: a form of power that is unfairly distributed but which can disturb other unfair hierarchies.  For this reason it may have democratic appeal.  In poor urban areas beauty often has a similar importance for girls as soccer (or basketball) does for boys: it promises an almost magical attainment of recognition, wealth or power.
  • For many consumers attractiveness is essential to economic and sexual competition, social visibility, and mental well being.  This “value” of appearance may be especially clear for those excluded from other means of social ascent.  For the poor beauty is often a form of capital that can be exchanged for other benefits, however small, transient, or unconducive to collective change.
Javier E

How Do I Find Meaning and Beauty in My Life? - The New York Times - 1 views

www.nytimes.com/...find-meaning-beauty.html

meaning of life beauty art aesthetics psychology

shared by Javier E on 31 Dec 19 - No Cached
  • I’ve spent much of my life and thought and income in pursuit of beauty in one form or another: design, fashion, the beauty or “wellness” industries. This is very much a professional hazard: My career in glossy magazines and advertising as a photo editor is all about making beautiful images of beautiful things that I’ve selected look even more beautiful.
  • Often, when I think how much of my time I’ve devoted to my own appearance or to matters of aesthetics I cringe, though I’ve often been the person in any given room defending things like style and design from accusations of superficiality and frivolity.
  • I’ve come to a place in which I no longer know what my own life should look like. I literally do not know what to do with myself and what I should believe in anymore, and this does, in fact, seem kind of frivolous, given the very urgent concerns of the society we live in.
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  • I’m unable to save money for retirement and I get very anxious when I think about the future.
  • Worse, I’ve lost my sense of meaning to myself. I feel like the culture has moved on without me, and I don’t know what to do.
  • I feel alone in many ways and unsuccessful by most measures. I don’t own a home and no one needs me; I am nobody’s mother and now I am nobody’s child, as my parents are no longer living.
  • on bad ones, I feel such futility, like I’ve squandered my own youth and beauty in the hall of mirrors that is our consumerist society.
  • A: What you wrote is in no way frivolous; it concerns the entire value, direction and purpose of your life.
  • You’ve realized that, in curating what we call taste, you’ve unwittingly become part of the system, the media-driven consumerist machine that creates the desire to possess things you’ll likely never be able to afford.
  • Beauty — distracting, exclusionary, often more talismanic and notional than “real” — has never been a steady organizing principle for life
  • your sense of what is beautiful has become more complicated, as you have. Your work is no longer satisfying to you because it is no longer relevant to the person you are.
  • your way of seeing things, including yourself, seems not wholly true or right or your own, and is in dire need of a refresh. It feels reductive and merciless, informed too much by the very aspects of our culture that have become deadening to you.
  • You’re seeking new paths to the shore, new things that sustain you, and this requires doing the work to find out what that looks like. It requires acknowledging the value shift that probably began happening inside you long ago.
anonymous

How Engaging With Art Affects the Human Brain | American Association for the Advancemen... - 0 views

www.aaas.org/...gaging-art-affects-human-brain

shared by anonymous on 04 Nov 20 - No Cached
  • Today, the neurological mechanisms underlying these responses are the subject of fascination to artists, curators and scientists alike.
  • "Once you circle these little things and come to the end of this little project, you'll be invited to compare where you came out against what the results of this experiment were and are," Vikan said. "What you'll find in this show is that there is an amazing convergence. The people that came to the museum liked and disliked the same categories of shapes as the people in the lab as the people in the fMRIs."
  • "Art accesses some of the most advanced processes of human intuitive analysis and expressivity and a key form of aesthetic appreciation is through embodied cognition, the ability to project oneself as an agent in the depicted scene,
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  • Embodied cognition is "the sense of drawing you in and making you really feel the quality of the paintings,"
  • The Birth of Venus" because it makes them feel as though they are floating in with Venus on the seashell. Similarly, viewers can feel the flinging of the paint on the canvas when appreciating a drip painting by Jackson Pollock.
  • Mirror neurons, cells in the brain that respond similarly when observing and performing an action, are responsible for embodied cognition
  • Most research on the effects of music education has been done on populations that are privileged enough to afford private music instruction so Kraus is studying music instruction in group settings
  • "But observing the action requires the information to flow inward from the image you're seeing into the control centers. So that bidirectional flow is what's captured in this concept of mirror neurons and it gives the extra vividness to this aesthetics of art appreciation
  • Performing an action requires the information to flow out from the control centers to the limbs,
  • While congenitally blind people usually don't have activation in the visual area of the brain, in brain scans done after the subjects were taught to draw from memory,
  • Hearing speech in noise is one area in which musicians are uniquely skilled. In standardized tests, musicians across the lifespan were much better than the general public at listening to sentences and repeating them back as the level of background noise increased, Kraus said.
  • Artists are known to be better observers and exhibit better memory than non-artists. In an effort to see what happens in the brain when an individual is drawing and whether drawing can increase the brain's plasticity
  • Musicians are also known for their ability to keep rhythm, a skill that is correlated with reading ability and how precisely the brain responds to sound. After one year, students who participated in the group music instruction were faster and more accurate at keeping a beat than students in the control group, Kraus said.
  • "To sum things up, we are what we do and our past shapes our present," Kraus said. "Auditory biology is not frozen in time. It's a moving target. And music education really does seem to enhance communication by strengthening language skills."
  • "When you're doing art, your brain is running full speed,"
  • "It's hitting on all eight cylinders. So if you can figure out what's happening to the brain on art,
Javier E

The Class Politics of Instagram Face - Tablet Magazine - 0 views

www.tabletmag.com/...class-politics-instagram-face

face class be beauty cosmetics surgery age women

shared by Javier E on 10 Apr 23 - No Cached
  • by approaching universality, Instagram Face actually secured its role as an instrument of class distinction—a mark of a certain kind of woman. The women who don’t mind looking like others, or the conspicuousness of the work they’ve had done
  • Instagram Face goes with implants, middle-aged dates and nails too long to pick up the check. Batting false eyelashes, there in the restaurant it orders for dinner all the food groups of nouveau riche Dubai: caviar, truffle, fillers, foie gras, Botox, bottle service, bodycon silhouettes. The look, in that restaurant and everywhere, has reached a definite status. It’s the girlfriend, not the wife.
  • Does cosmetic work have a particular class? It has a price tag, which can amount to the same thing, unless that price drops low enough.
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  • Before the introduction of Botox and hyaluronic acid dermal fillers in 2002 and 2003, respectively, aesthetic work was serious, expensive. Nose jobs and face lifts required general anesthesia, not insignificant recovery time, and cost thousands of dollars (in 2000, a facelift was $5,416 on average, and a rhinoplasty $4,109, around $9,400 and $7,000 adjusted).
  • In contrast, the average price of a syringe of hyaluronic acid filler today is $684, while treating, for example, the forehead and eyes with Botox will put you out anywhere from $300 to $600
  • We copied the beautiful and the rich, not in facsimile, but in homage.
  • In 2018, use of Botox and fillers was up 18% and 20% from five years prior. Philosophies of prejuvenation have made Botox use jump 22% among 22- to 37-year-olds in half a decade as well. By 2030, global noninvasive aesthetic treatments are predicted to triple.
  • The trouble is that a status symbol, without status, is common.
  • Beauty has always been exclusive. When someone strikes you as pretty, it means they are something that everyone else is not.
  • It’s a zero-sum game, as relative as our morals. Naturally, we hoard of beauty what we can. It’s why we call grooming tips “secrets.”
  • Largely the secrets started with the wealthy, who possess the requisite money and leisure to spare on their appearances
  • Botox and filler only accelerated a trend that began in the ’70s and ’80s and is just now reaching its saturation point.
  • we didn’t have the tools for anything more than emulation. Fake breasts and overdrawn lips only approximated real ones; a birthmark drawn with pencil would always be just that.
  • Instagram Face, on the other hand, distinguishes itself by its sheer reproducibility. Not only because of those new cosmetic technologies, which can truly reshape features, at reasonable cost and with little risk.
  • built in to the whole premise of reversible, low-stakes modification is an indefinite flux, and thus a lack of discretion.
  • Instagram Face has replicated outward, with trendsetters giving up competing with one another in favor of looking eerily alike. And obviously it has replicated down.
  • Eva looks like Eva. If she has procedures in common with Kim K, you couldn’t tell. “I look at my features and I think long and hard of how I can, without looking different and while keeping as natural as possible, make them look better and more proportional. I’m against everything that is too invasive. My problem with Instagram Face is that if you want to look like someone else, you should be in therapy.”
  • natural looks have always been, and still are, more valuable than artificial ones. Partly because of our urge to legitimize in any way we can the advantages we have over other people. Hotness is a class struggle.
  • As more and more women post videos of themselves eating, sleeping, dressing, dancing, and Only-Fanning online, in a logical bid for economic ascendance, the women who haven’t needed to do that gain a new status symbol.
  • Privacy. A life which is not a ticketed show. An intimacy that does not admit advertisers. A face that does not broadcast its insecurity, or the work undergone to correct it.
  • Upper class, private women get discrete work done. The differences aren’t in the procedures themselves—they’re the same—but in disposition
  • Eva, who lives between central London, Geneva, and the south of France, says: “I do stuff, but none of the stuff I do is at all in my head associated with Instagram Face. Essentially you do similar procedures, but the end goal is completely different. Because they are trying to get the result of looking like another human being, and I’m just beautifying myself.”
  • But the more rapidly it replicates, and the clearer our manuals for quick imitation become, the closer we get to singularity—that moment Kim Kardashian fears unlike any other: the moment when it becomes unclear whether we’re copying her, or whether she is copying us.
  • what he restores is complicated and yet not complicated at all. It’s herself, the fingerprint of her features. Her aura, her presence and genealogy, her authenticity in space and time.
  • Dr. Taktouk’s approach is “not so formulaic.” He aims to give his patients the “better versions of themselves.” “It’s not about trying to be anyone else,” he says, “or creating a conveyor belt of patients. It’s about working with your best features, enhancing them, but still looking like you.”
  • “Vulgar” says that in pursuing indistinguishability, women have been duped into another punishing divide. “Vulgar” says that the subtlety of his work is what signals its special class—and that the women who’ve obtained Instagram Face for mobility’s sake have unwittingly shut themselves out of it.
  • While younger women are dissolving their gratuitous work, the 64-year-old Madonna appeared at the Grammy Awards in early February, looking so tragically unlike herself that the internet launched an immediate postmortem.
  • The folly of Instagram Face is that in pursuing a bionic ideal, it turns cosmetic technology away from not just the reality of class and power, but also the great, poignant, painful human project of trying to reverse time. It misses the point of what we find beautiful: that which is ephemeral, and can’t be reproduced
  • Age is just one of the hierarchies Instagram Face can’t topple, in the history of women striving versus the women already arrived. What exactly have they arrived at?
  • Youth, temporarily. Wealth. Emotional security. Privacy. Personal choices, like cosmetic decisions, which are not so public, and do not have to be defended as empowered, in the defeatist humiliation of our times
  • Maybe they’ve arrived at love, which for women has never been separate from the things I’ve already mentioned.
  • I can’t help but recall the time I was chatting with a plastic surgeon. I began to point to my features, my flaws. I asked her, “What would you do to me, if I were your patient?” I had many ideas. She gazed at me, and then noticed my ring. “Nothing,” she said. “You’re already married.”
Javier E

Illustrating With Words Alone « The Dish - 1 views

dish.andrewsullivan.com/...lustrating-through-words-alone

illustration writing

shared by Javier E on 03 Mar 13 - No Cached
  • Sam Sacks details the turn against illustrated stories and novels among early 20th century writers, including Henry James and Virginia Woolf, who were suspicious of what visuals did to the integrity of their art:
  • So writers somewhat defensively cleaved to this division: pictures were about superficial titillation; prose was about essences. And over time the opinion hardened that the old custom of accompanying illustration was a form of aesthetic corruption.
  • Writers who stick to this dichotomy are missing out, especially in the age of e-readers that “allow you to read text, look at pictures, and watch videos on the same device.”
Javier E

In Defense of Big Love - The New York Times - 1 views

www.nytimes.com/...big-and-little-loves.html

love beauty sublime

shared by Javier E on 01 Jun 16 - No Cached
  • Beauty is what you experience when you look at a flower or a lovely face. It is contained, pleasurable, intimate and romantic. Sublime is what you feel when you look at a mountain range or a tornado. It involves awe, veneration, maybe even a touch of fear
  • neuroscientists have shown that the experiences of beauty and awe activate different parts of the brain.
  • I’d say that in America today some of the little loves are fraying, and big love is almost a foreign language. Almost nobody speaks about the American project in the same ardent tones that were once routine.
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  • The distinction between the beautiful and the sublime is the distinction between the intimate and the transcendent. This sort of distinction doesn’t just happen in aesthetics, but in life in general. We have big and little loves.
  • Big love involves thinking in sweeping historical terms. But today the sense that America is pursuing a noble mission in the world has been humbled by failures and passivity. The country feels more divided than unified around common purpose
  • Big love involves politics, and thus compromise, competition and messiness. Americans today are less likely to discern the noble within the grittiness of reality. The very words that the founders used to describe their big love for their country sound archaic: glory, magnanimity, sacred honor and greatness.
  • There is, in sum, less animating desire in the country at the moment, and therefore less energy and daring. The share of Americans moving across state lines in search of opportunity has fallen by more than half since the 1970s. The rate of new business creation is down. Productivity is falling for the first time in three decades. Economic growth is anemic. There’s a spiritual and cultural element behind these trends
Javier E

Science on the Rampage by Freeman Dyson | The New York Review of Books - 0 views

www.nybooks.com/...nce-rampage-natural-philosophy

science research physics string theory pseudo-science

shared by Javier E on 02 Apr 12 - Cached
  • science is only a small part of human capability. We gain knowledge of our place in the universe not only from science but also from history, art, and literature. Science is a creative interaction of observation with imagination. “Physics at the Fringe” is what happens when imagination loses touch with observation. Imagination by itself can still enlarge our vision when observation fails. The mythologies of Carter and Velikovsky fail to be science, but they are works of art and high imagining. As William Blake told us long ago, “You never know what is enough unless you know what is more than enough.”
  • Over most of the territory of physics, theorists and experimenters are engaged in a common enterprise, and theories are tested rigorously by experiment. The theorists listen to the voice of nature speaking through experimental tools. This was true for the great theorists of the early twentieth century, Einstein and Heisenberg and Schrödinger, whose revolutionary theories of relativity and quantum mechanics were tested by precise experiments and found to fit the facts of nature. The new mathematical abstractions fit the facts, while the old mechanical models did not.
  • String cosmology is different. String cosmology is a part of theoretical physics that has become detached from experiments. String cosmologists are free to imagine universes and multiverses, guided by intuition and aesthetic judgment alone. Their creations must be logically consistent and mathematically elegant, but they are otherwise unconstrained.
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  • The fringe of physics is not a sharp boundary with truth on one side and fantasy on the other. All of science is uncertain and subject to revision. The glory of science is to imagine more than we can prove. The fringe is the unexplored territory where truth and fantasy are not yet disentangled.
Javier E

The American Scholar: The Decline of the English Department - William M. Chace - 1 views

theamericanscholar.org/line-of-the-english-department

decline english department education university history

shared by Javier E on 14 Jun 12 - No Cached
  • The number of young men and women majoring in English has dropped dramatically; the same is true of philosophy, foreign languages, art history, and kindred fields, including history. As someone who has taught in four university English departments over the last 40 years, I am dismayed by this shift, as are my colleagues here and there across the land. And because it is probably irreversible, it is important to attempt to sort out the reasons—the many reasons—for what has happened.
  • English: from 7.6 percent of the majors to 3.9 percent
  • In one generation, then, the numbers of those majoring in the humanities dropped from a total of 30 percent to a total of less than 16 percent; during that same generation, business majors climbed from 14 percent to 22 percent.
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  • History: from 18.5 percent to 10.7 percent
  • These, then, are some of the external causes of the decline of English: the rise of public education; the relative youth and instability (despite its apparent mature solidity) of English as a discipline; the impact of money; and the pressures upon departments within the modern university to attract financial resources rather than simply use them up.
  • The twin focus, then, was on the philological nature of the enterprise and the canon of great works to be studied in their historical evolution.
  • Studying English taught us how to write and think better, and to make articulate many of the inchoate impulses and confusions of our post-adolescent minds. We began to see, as we had not before, how such books could shape and refine our thinking. We began to understand why generations of people coming before us had kept them in libraries and bookstores and in classes such as ours. There was, we got to know, a tradition, a historical culture, that had been assembled around these books. Shakespeare had indeed made a difference—to people before us, now to us, and forever to the language of English-speaking people.
  • today there are stunning changes in the student population: there are more and more gifted and enterprising students coming from immigrant backgrounds, students with only slender connections to Western culture and to the assumption that the “great books” of England and the United States should enjoy a fixed centrality in the world. What was once the heart of the matter now seems provincial. Why throw yourself into a study of something not emblematic of the world but representative of a special national interest? As the campus reflects the cultural, racial, and religious complexities of the world around it, reading British and American literature looks more and more marginal. From a global perspective, the books look smaller.
  • With the cost of a college degree surging upward during the last quarter century—tuition itself increasing far beyond any measure of inflation—and with consequent growth in loan debt after graduation, parents have become anxious about the relative earning power of a humanities degree. Their college-age children doubtless share such anxiety. When college costs were lower, anxiety could be kept at bay. (Berkeley in the early ’60s cost me about $100 a year, about $700 in today’s dollars.)
  • Economists, chemists, biologists, psychologists, computer scientists, and almost everyone in the medical sciences win sponsored research, grants, and federal dollars. By and large, humanists don’t, and so they find themselves as direct employees of the institution, consuming money in salaries, pensions, and operating needs—not external money but institutional money.
  • But the deeper explanation resides not in something that has happened to it, but in what it has done to itself. English has become less and less coherent as a discipline and, worse, has come near exhaustion as a scholarly pursuit.
  • several of my colleagues around the country have called for a return to the aesthetic wellsprings of literature, the rock-solid fact, often neglected, that it can indeed amuse, delight, and educate. They urge the teaching of English, or French, or Russian literature, and the like, in terms of the intrinsic value of the works themselves, in all their range and multiplicity, as well-crafted and appealing artifacts of human wisdom. Second, we should redefine our own standards for granting tenure, placing more emphasis on the classroom and less on published research, and we should prepare to contest our decisions with administrators whose science-based model is not an appropriate means of evaluation.
  • “It may be that what has happened to the profession is not the consequence of social or philosophical changes, but simply the consequence of a tank now empty.” His homely metaphor pointed to the absence of genuinely new frontiers of knowledge and understanding for English professors to explore.
  • unlike other members of the university community, they might well have been plying their trade without proper credentials: “Whereas economists or physicists, geologists or climatologists, physicians or lawyers must master a body of knowledge before they can even think of being licensed to practice,” she said, “we literary scholars, it is tacitly assumed, have no definable expertise.”
  • no one has come forward in years to assert that the study of English (or comparative literature or similar undertakings in other languages) is coherent, does have self-limiting boundaries, and can be described as this but not that.
  • to teach English today is to do, intellectually, what one pleases. No sense of duty remains toward works of English or American literature; amateur sociology or anthropology or philosophy or comic books or studies of trauma among soldiers or survivors of the Holocaust will do. You need not even believe that works of literature have intelligible meaning; you can announce that they bear no relationship at all to the world beyond the text.
  • With everything on the table, and with foundational principles abandoned, everyone is free, in the classroom or in prose, to exercise intellectual laissez-faire in the largest possible way—I won’t interfere with what you do and am happy to see that you will return the favor
  • Consider the English department at Harvard University. It has now agreed to remove its survey of English literature for undergraduates, replacing it and much else with four new “affinity groups”
  • there would be no one book, or family of books, that every English major at Harvard would have read by the time he or she graduates. The direction to which Harvard would lead its students in this “clean slate” or “trickle down” experiment is to suspend literary history, thrusting into the hands of undergraduates the job of cobbling together intellectual coherence for themselves
  • Those who once strove to give order to the curriculum will have learned, from Harvard, that terms like core knowledge and foundational experience only trigger acrimony, turf protection, and faculty mutinies. No one has the stomach anymore to refight the Western culture wars. Let the students find their own way to knowledge.
  • In English, the average number of years spent earning a doctoral degree is almost 11. After passing that milestone, only half of new Ph.D.’s find teaching jobs, the number of new positions having declined over the last year by more than 20 percent; many of those jobs are part-time or come with no possibility of tenure. News like that, moving through student networks, can be matched against, at least until recently, the reputed earning power of recent graduates of business schools, law schools, and medical schools. The comparison is akin to what young people growing up in Rust Belt cities are forced to see: the work isn’t here anymore; our technology is obsolete.
  • In this country and in England, the study of English literature began in the latter part of the 19th century as an exercise in the scientific pursuit of philological research, and those who taught it subscribed to the notion that literature was best understood as a product of language.
  • English departments need not refight the Western culture wars. But they need to fight their own book wars. They must agree on which texts to teach and argue out the choices and the principles of making them if they are to claim the respect due a department of study.
  • They can teach their students to write well, to use rhetoric. They should place their courses in composition and rhetoric at the forefront of their activities. They should announce that the teaching of composition is a skill their instructors have mastered and that students majoring in English will be certified, upon graduation, as possessing rigorously tested competence in prose expression.
  • The study of literature will then take on the profile now held, with moderate dignity, by the study of the classics, Greek and Latin.
  • But we can, we must, do better. At stake are the books themselves and what they can mean to the young. Yes, it is just a literary tradition. That’s all. But without such traditions, civil societies have no compass to guide them.
Javier E

5 things art is not - 3 views

www.tkc.edu/...newsrelease.asp

art

shared by Javier E on 03 Mar 14 - No Cached
  • 5 Things Art is Not
  • in over two decades of study through my work as a curator, college professor, and critic, art has become more mysterious, eluding my attempts to pin it down, to fully understand it, becoming so much more and other than I had expected.
  • But what I have learned are a few things about what art is not, things that I have believed about art over the years that I have gradually had to abandon.
  • ...12 more annotations...
  • 1. Art is not an abstract category.
  • You do not stand in front of "Art" in a museum or a gallery, you stand in front of particular painting. The artist Barnett Newman once quipped, "aesthetics is for artists what ornithology is for birds."
  • 2. Art is not a political weapon
  • The value of art is not found in its capacity to effect political change "out there" but to work on us—you and me—to connect with our pain and suffering, hope and yearning, to have the run of our "inner chambers,"
  • Any cultural practice that is worth taking seriously, that has a history and tradition, whether cooking, ballroom dancing, or chess, takes practice, and thus requires effort to learn
  • 3. Art is not easy
  • Each work of art is a response to a conversation that spans centuries, each artist receives and passes on this tradition in their own distinctive way
  • 4. Art is not a visual illustration of the artist’s worldview
  • No human being possesses a unified "worldview" that is manifest in and through each of her intentional acts or artifacts she produces
  • An artist does not paint a picture to express what she already knows or believes. She paints to learn something about herself and the world—something she doesn’t already know.
  • 5. Art does not form virtue
  • Art always pushes against the pragmatism, moralism, and utilitarianism that shapes life inside as well as outside the church. It starts with our weakness, desperation, and brokenness in its search for hope and beauty and stakes its existence and relevance on the belief that all appearances deceive.
Javier E

Life as Instant Replay, Over and Over Again - NYTimes.com - 0 views

www.nytimes.com/...eplay-over-and-over-again.html

time online psychology replay repetition

shared by Javier E on 01 Oct 13 - No Cached
  • although I think about the Web as a real-time organism, most of the time the organism is obsessing about what happened earlier that day, or week.
  • The replay Web coexists with the real-time Web, the phrase often used to describe sites and services, like Twitter, that let people consume information as soon as it is published.
  • The rise of the replay Web is more than just a coping mechanism that helps us deal with information overload. It is shaping the way we consume, process and share information, and could potentially influence the businesses that are built on it.
  • ...6 more annotations...
  • “Our consumption of content isn’t synchronous,” he said. “Things are interesting to a small group, a cluster of friends or on Reddit — then they die.” He continued: “Then they pick up and go massive. There are these little ripple effects all around the Web, little waves that converge in a pool and make big waves.”
  • present shock keeps us suspended in a state of constant disarray, and causes us to prioritize the recent over the relevant and the new instead of the most important.
  • The way we use technology could be reshaping our sense of time and urgency. Douglas Rushkoff, the author of “Present Shock: When Everything Happens Now,” describes present shock as the stupefaction that overtakes people as they try to keep up with the never-ending onslaught of status updates, photo feeds and looping videos constantly refreshing before their eyes.
  • THERE are other signs to indicate a replay aesthetic is coming to the Web. For example, the latest version of the iPhone’s mobile software will include the ability to capture video in slow motion.
  • the medium of the loop — either in a GIF, a short clip posted to Vine, or Instagram photo- and video-sharing applications — has become a crucial framework for transmitting information. It mimics the way we remember — by repetition — and future tools could make use of that to understand not only how we transmit information but also how we retain it.
  • Perhaps the replay Web, by allowing us to constantly revisit and reconsider the recent past, can help us find new meaning in it.
Ellie McGinnis

Why Do Some Brains Enjoy Fear? - Allegra Ringo - The Atlantic - 1 views

www.theatlantic.com/...280938

fear brain science psychology

shared by Ellie McGinnis on 01 Nov 13 - No Cached
  • One of the most interesting things about studying fear is looking at the social constructions of fear, and learned fears versus those fears that appear to be more innate, or even genetic
  • Through fear conditioning (connecting a neutral stimulus with a negative consequence) we can link pretty much anything to a fear response.
  • So we know that we can learn to fear, and this means our socialization and the society in which we are raised is going to have a lot to do with what we find scary.
  • ...7 more annotations...
  • This speaks to the fact that things that violate the laws of nature are terrifying. And really anything that doesn’t make sense or causes us some sort of dissonance, whether it is cognitive or aesthetic, is going to be scary (axe-wielding animals, masked faces, contorted bodies).
  • Humans are obsessed with death; we simply have a hard time wrapping our mind around what happens when we die.
  • Humans have been scaring themselves and each other since the birth of the species, through all kinds of methods like storytelling, jumping off cliffs, and popping out to startle each other from the recesses of some dark cave.
  • to build group unity, to prepare kids for life in the scary world, and, of course, to control behavior.
  • These scary stories provided, and continue to deliver, intrigue, exhilaration, and a jolt of excitement to our lives.
  • One of the reasons people love Halloween is because it produces strong emotional responses, and those responses work to build stronger relationships and memories. When we’re happy, or afraid, we’re releasing powerful hormones, like oxcytocin, that are working to make these moments stick in our brain. So we’re going to remember the people we’re with. If it was a good experience, then we’ll remember them fondly and feel close to them, more so than if we were to meet them during some neutral unexciting event.
  • We’re social and emotional beings. We need each other in times of stress, so the fact that our bodies have evolved to make sure we feel close to those we are with when afraid makes sense.
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