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Javier E

Is Amazon Creating a Cultural Monopoly? - The New Yorker - 0 views

www.newyorker.com/...n-creating-a-cultural-monopoly

amazon culture diversity monopoly antitrust

shared by Javier E on 24 Aug 15 - No Cached
  • “We are not experts in antitrust law, and this letter is not a legal brief. But we are authors with a deep, collective experience in this field, and we agree with the authorities in economics and law who have asserted that Amazon’s dominant position makes it a monopoly as a seller of books and a monopsony as a buyer of books.” (A monopoly is a company that has extraordinary control over supply as a seller of goods to consumers; a monopsony has extraordinary control over suppliers as a buyer of their goods.)
  • a highly unorthodox argument: that, even though Amazon’s activities tend to reduce book prices, which is considered good for consumers, they ultimately hurt consumers
  • U.S. courts evaluate antitrust issues very differently, nowadays, than they did a hundred years ago, just after antitrust laws were established to keep big corporations from abusing their power. Back then, judges tended to be largely concerned with protecting suppliers from being squeezed by retailers, which meant that, if a corporation exercised monopoly power to push prices down, hurting suppliers, the company could easily lose an antitrust case. But by the nineteen-eighties, the judiciary’s focus had shifted to protecting consumers, leading courts to become more prone to ruling in favor of the corporation, on the grounds that lower prices are good for consumers.
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  • specific argument—that Amazon’s actions are bad for consumers because they make our world less intellectually active and diverse—is unorthodox in its resort to cultural and artistic grounds. But it can be read as the inverse of a case like Leegin v. PSKS: that lower prices for worse products could be bad for consumers—and perhaps constitute an antitrust violation.
  • if higher prices corresponded with better products, that could be good for consumers—and not necessarily an antitrust violation.
  • Their argument is this: Amazon has used its market power both to influence which books get attention (by featuring them more prominently on its Web site, a practice I’ve also written about) and, in some cases, to drive prices lower. These practices, the authors argue, squeeze publishers, which makes them more risk-averse in deciding which books to publish. As a result, they claim, publishers have been “dropping some midlist authors and not publishing certain riskier books, effectively silencing many voices.” And this is bad not only for the non-famous writers who go unpublished, but for their would-be readers, who are denied the ability to hear those voices.
  • While it may be attractive, on a philosophical level, to argue that Amazon is bad for us because it makes our culture poorer, measuring that effect would be difficult, if not impossible. How would one go about valuing an unpublished masterpiece by an unknown author? This is further complicated by the fact that Amazon makes it easy for authors to self-publish and have their work be seen, without having to go through such traditional gatekeepers as agents and publishers; Amazon might argue that this allows for more free flow of information and ideas
  • Furthermore, U.S. law is concerned with diversity in media, Crane said, but that tends to be regulated through the Federal Communications Commission, not the Justice Department.
  • it’s quite possible the Justice Department will read the Authors United letter and dismiss it as uninformed. But even if that happens, Preston said, it will have been worthwhile for the writers to have made their case.
  • Authors United’s larger mission, he told me, was this: “We hope to show the public that getting products faster and cheaper isn’t necessarily the greatest good. It comes at a human cost.”
Javier E

A German Writer Translates a Puzzling Illness Into a Best-Selling Book - The New York T... - 0 views

www.nytimes.com/...-into-a-best-selling-book.html

emotion psychology research brain science

shared by Javier E on 21 Jun 15 - No Cached
  • Back in 2007, after a series of mostly ineffective treatments prescribed by doctors, Ms. Enders, then 17, decided to take matters into her own hands. Convinced that the illness was somehow associated with her intestines, she pored over gastroenterological research, consumed probiotic bacterial cultures meant to aid digestion and tried out mineral supplements.
  • The experiments worked (although she is not sure which one did the trick), leaving her with healthy skin and a newfound interest in her intestines. “I experienced with my own body that knowledge is power,” she writes of the episode in “Gut: The Inside Story of Our Body’s Most Underrated Organ,”
  • growing body of research indicating that our intestines may have a far greater influence on our feelings, decisions and behavior than previously realized. The primary evidence for this, Ms. Enders writes, is the vast network of nerves attached to our guts that monitors our deepest internal experiences and sends information to the brain, including to those regions responsible for self-awareness, memory and even morality.
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  • Just how much your lunch will affect ethical decision making remains unclear; we still know very little about this “gut brain,” as Ms. Enders refers to it. But this byzantine neural architecture suggests that our intestines may play a large part in determining who we are and what we do.
Javier E

Narcissus Regards a Book - The Chronicle Review - The Chronicle of Higher Education - 0 views

chronicle.com/...126060

reading literature elitism narcissism Entertainment

shared by Javier E on 11 May 11 - No Cached
  • Common readers—which is to say the great majority of people who continue to read—read for one purpose and one purpose only. They read for pleasure. They read to be entertained. They read to be diverted, assuaged, comforted, and tickled.
  • Reading, where it exists at all, has largely become an unprofitable wing of the diversion industry.
  • it's not only the division of experience between hard labor and empty leisure that now makes reading for something like mortal stakes a very remote possibility.
  • ...11 more annotations...
  • when life is not work, it is play. That's not hard to understand. People are tired, stressed, drained: They want to kick back a little.
  • Now the kids who were kids when the Western canon went on trial and received summary justice are working the levers of culture. They are the editors and the reviewers and the arts writers and the ones who interview the novelists and the poets
  • Though the arts interest them, though they read this and they read that—there is one thing that makes them very nervous indeed about what they do. They are not comfortable with judgments of quality. They are not at ease with "the whole evaluation thing."
  • They may sense that Blake's Songs of Innocence and Experience are in some manner more valuable, more worth pondering, more worth preserving than The Simpsons. They may sense as much. But they do not have the terminology to explain why. They never heard the arguments. The professors who should have been providing the arguments when the No More Western Culture marches were going on never made a significant peep.
  • But entertainment culture suffers no such difficulty. Its rationale is simple, clear, potent: The products of the culture industry are good because they make you feel good.
  • So the arbiters of culture—our former students—went the logical way. They said: If it makes you feel good, it must be good. If Stephen King and John Grisham bring pleasure, why then, let us applaud them.
  • What's not asked in the review and the interview and the profile is whether a King book is worth writing or worth reading. It seems that no one anymore has the wherewithal to say that reading a King novel is a major waste of time.
  • Media no longer seek to shape taste. They do not try to educate the public. And this is so in part because no one seems to know what literary and cultural education would consist of. What does make a book great, anyway? And the media have another reason for not trying to shape taste: It pisses off the readers. They feel insulted, condescended to; they feel dumb.
  • Even the most august publications and broadcasts no longer attempt to shape taste. They merely seek to reflect it. They hold the cultural mirror up to the reader—what the reader likes, the writer and the editor like. They hold the mirror up and the reader and—what else can he do?—the reader falls in love. The common reader today is someone who has fallen in love, with himself.
  • Reading in pursuit of influence—that, I think, is the desired thing. It takes a strange mixture of humility and confidence to do as much.
  • The desire to be influenced is always bound up with some measure of self-dislike, or at least with a dose of discontent. While the culture tells us to love ourselves as we are—or as we will be after we've acquired the proper products and services—the true common reader does not find himself adequate at all.
Javier E

If It Feels Right - NYTimes.com - 3 views

www.nytimes.com/...if-it-feels-right.html

morality US individualism relativism consumerism

shared by Javier E on 14 Sep 11 - No Cached
  • What’s disheartening is how bad they are at thinking and talking about moral issues.
  • you see the young people groping to say anything sensible on these matters. But they just don’t have the categories or vocabulary to do so.
  • “Not many of them have previously given much or any thought to many of the kinds of questions about morality that we asked,” Smith and his co-authors write. When asked about wrong or evil, they could generally agree that rape and murder are wrong. But, aside from these extreme cases, moral thinking didn’t enter the picture, even when considering things like drunken driving, cheating in school or cheating on a partner.
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  • The default position, which most of them came back to again and again, is that moral choices are just a matter of individual taste. “It’s personal,” the respondents typically said. “It’s up to the individual. Who am I to say?”
  • “I would do what I thought made me happy or how I felt. I have no other way of knowing what to do but how I internally feel.”
  • Many were quick to talk about their moral feelings but hesitant to link these feelings to any broader thinking about a shared moral framework or obligation. As one put it, “I mean, I guess what makes something right is how I feel about it. But different people feel different ways, so I couldn’t speak on behalf of anyone else as to what’s right and wrong.”
  • Smith and company found an atmosphere of extreme moral individualism — of relativism and nonjudgmentalism.
  • they have not been given the resources — by schools, institutions and families — to cultivate their moral intuitions, to think more broadly about moral obligations, to check behaviors that may be degrading.
  • the interviewees were so completely untroubled by rabid consumerism.
  • their attitudes at the start of their adult lives do reveal something about American culture. For decades, writers from different perspectives have been warning about the erosion of shared moral frameworks and the rise of an easygoing moral individualism. Allan Bloom and Gertrude Himmelfarb warned that sturdy virtues are being diluted into shallow values. Alasdair MacIntyre has written about emotivism, the idea that it’s impossible to secure moral agreement in our culture because all judgments are based on how we feel at the moment. Charles Taylor has argued that morals have become separated from moral sources. People are less likely to feel embedded on a moral landscape that transcends self. James Davison Hunter wrote a book called “The Death of Character.” Smith’s interviewees are living, breathing examples of the trends these writers have described.
  • In most times and in most places, the group was seen to be the essential moral unit. A shared religion defined rules and practices. Cultures structured people’s imaginations and imposed moral disciplines. But now more people are led to assume that the free-floating individual is the essential moral unit. Morality was once revealed, inherited and shared, but now it’s thought of as something that emerges in the privacy of your own heart.
  • Richard Monari on 18 Sep 11
     
    Goodness, I went through a bit of emotion reading that. Whew. Gotta center. Anyhoo, I feel certainly conflicted over the author's idea of "shallow values." Personally, I don't necessarily see the need to have a shared moral framework to connect to. What is this framework if not a system to instill shame and obligation into its members? While I do think it's important to have an articulate moral opinion on relevant subjects, I also think the world cannot be divided into realms of right or wrong when we can barely see even an infinitely small part of it at one time. What's wrong with open-mindedness?
Javier E

The Loneliness of the Long-Distance Reader - NYTimes.com - 0 views

www.nytimes.com/...-the-long-distance-reader.html

reading books publishing

shared by Javier E on 05 Jan 14 - No Cached
  • Reading, always a solitary affair, is increasingly a lonely one. A range of related factors have brought this to a head.
  • Overall book sales have been anemic in recent years, declining 6 percent in the first half of 2013 alone. But the profits of publishers have remained largely intact; in the same period only one of what were then still the “big six” trade houses reported a decline on its bottom line. This is partly because of the higher margins on e-books. But it has also been achieved by publishers cutting costs, especially for mid-list titles.
  • The “mid-list” in trade publishing parlance is a bit like the middle class in American politics: Anything below it is rarely mentioned in polite company. It comprises pretty much all new titles that are not potential blockbusters. But it’s the space where interesting things happen in the book world, where the obscure or the offbeat can spring to prominence, where new writers can make their mark.
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  • Author advances, except for the biggest names, have slumped sharply since the 2008 financial crash, declining by more than half, according to one recent survey. It’s hard to imagine that the quality of manuscripts from writers who have been forced either to eat less or write faster isn’t deteriorating.
  • Despite some recent good news, the number of independents has been halved in the last two decades, and the chain stores that survive increasingly employ part-time, unskilled staff.
  • Librarians, described by the novelist Richard Powers as “gas attendant[s] of the mind,” saw a national decrease in their numbers of nearly 100,000 over the two decades to 2009. Two-thirds of public libraries reported flat or decreasing budgets in 2012.
  • Cyril Connolly caustically described the book reviewer as having “a whole-time job with a half-time salary,” a job “in which the best in him is generally expended on the mediocre in others.” Today, it’s more of a part-time job with no salary.
  • or more personal interactions, many have turned to social reading sites such as Goodreads or LibraryThing.
  • to express discomfort at the attrition of expert opinion is not to defend the previous order’s prerogatives. Nor is it elitist to suggest that making the values and personnel of such professional hierarchies more representative is preferable to dispensing with them
  • With falling advances, writing is evermore dominated by people who don’t need it to earn a living: Tenured academics and celebrities spring to mind. For these groups, burnishing a résumé or marketing a brand is often as important as satisfying the reader.
  • book buyers today are deciding to play it safe, opting to join either the ever-larger audiences for blockbusters or the minuscule readerships of a vast range of specialist titles. In this bifurcation, the mid-list, publishing’s experimental laboratory, is being abandoned.
Javier E

Eduardo Galeano Disavows His Book 'The Open Veins' - NYTimes.com - 0 views

www.nytimes.com/...s-his-book-the-open-veins.html

leftist critique capitalism latin america history economy marxist

shared by Javier E on 24 May 14 - No Cached
  • For more than 40 years, Eduardo Galeano’s “The Open Veins of Latin America” has been the canonical anti-colonialist, anti-capitalist and anti-American text in that region
  • now Mr. Galeano, a 73-year-old Uruguayan writer, has disavowed the book, saying that he was not qualified to tackle the subject and that it was badly written. Predictably, his remarks have set off a vigorous regional debate, with the right doing some “we told you so” gloating, and the left clinging to a dogged defensiveness.
  •  ‘Open Veins’ tried to be a book of political economy, but I didn’t yet have the necessary training or preparation,” Mr. Galeano said last month while answering questions at a book fair in Brazil, where he was being honored on the 43rd anniversary of the book’s publication. He added: “I wouldn’t be capable of reading this book again; I’d keel over. For me, this prose of the traditional left is extremely leaden, and my physique can’t tolerate it
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  • “If I were teaching this in a course,” said Merilee Grindle, president of the Latin American Studies Association and director of the David Rockefeller Center for Latin American Studies at Harvard, “I would take his comments, add them in and use them to generate a far more interesting discussion about how we see and interpret events at different points in time.” And that seems to be exactly what many professors plan to do.
  • “Open Veins” has been translated into more than a dozen languages and has sold more than a million copies. In its heyday, its influence extended throughout what was then called the third world, including Africa and Asia, until the economic rise of China and India and Brazil seemed to undercut parts of its thesis.In the United States, “Open Veins” has been widely taught on university campuses since the 1970s, in courses ranging from history and anthropology to economics and geography. But Mr. Galeano’s unexpected takedown of his own work has left scholars wondering how to deal with the book in class.
  • “Reality has changed a lot, and I have changed a lot,” he said in Brazil, adding: “Reality is much more complex precisely because the human condition is diverse. Some political sectors close to me thought such diversity was a heresy. Even today, there are some survivors of this type who think that all diversity is a threat. Fortunately, it is not.”
  • In the mid-1990s, three advocates of free-market policies — the Colombian writer and diplomat Plinio Apuleyo Mendoza, the exiled Cuban author Carlos Alberto Montaner and the Peruvian journalist and author Álvaro Vargas Llosa — reacted to Mr. Galeano with a polemic of their own, “Guide to the Perfect Latin American Idiot.” They dismissed “Open Veins” as “the idiot’s bible,” and reduced its thesis to a single sentence: “We’re poor; it’s their fault.”
  • Mr. Montaner responded to Mr. Galeano’s recent remarks with a blog post titled “Galeano Corrects Himself and the Idiots Lose Their Bible.” In Brazil, Rodrigo Constantino, the author of “The Caviar Left,” took an even harsher tone, blaming Mr. Galeano’s analysis and prescription for many of Latin America’s ills. “He should feel really guilty for the damage he caused,”
Javier E

How Reading Transforms Us - NYTimes.com - 0 views

www.nytimes.com/...how-writing-transforms-us.html

reading art transformative literature research

shared by Javier E on 21 Dec 14 - No Cached
  • ere’s another kind of influence, not typically associated with writing, that works in a different fashion. Here, you don’t try to make people think or feel in any particular way. Instead, you try to get them to be themselves.
  • Could a writer have an indirect influence of this kind, getting readers to think about themselves anew?
  • in several studies over the past few years, we have found evidence that such influence is characteristic of literary art.
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  • Peterson randomly assigned participants to one of two groups: one whose members read “The Lady With the Dog,” an Anton Chekhov short story centered on marital infidelity, and another whose members read a “nonfictionalized” version of the story, written in the form of a report from a divorce court.
  • The personality scores of those who read the nonfiction text remained much the same. But the personality scores of those who read the Chekhov story fluctuated. The changes were not large but they were statistically significant, and they were correlated with the intensity of emotions people experienced as they read the story.
  • Matthew Carland, asked participants to read one of eight short stories or one of eight essays.
  • Chekhov’s story seemed to get people to start thinking about their personalities — about themselves — in new ways.
  • We had expected that people who read a piece of fiction would experience the greatest fluctuation in their personality scores, but we didn’t find this. The genre of the text — fiction or nonfiction — didn’t matter much; what mattered was the degree of perceived artistry. Those who read a story or essay that they judged to be artistic changed their personality scores significantly more than did those who judged what they read to be less artistic.
  • we drew on the studies described above, as well as on research that compared preoccupations of famous fiction writers with those of famous physicists, to outline a psychological conception of artistic literature as being based not on persuasion or instruction (as, for example, the Roman poet Horace theorized in “The Art of Poetry”) but on indirect communication.
  • the idea of communication that has effects of a nonpersuasive yet transformative kind has rarely been considered in psychology. We hope our studies encourage others to investigate further this important kind of influence.
Javier E

Liu Cixin's War of the Worlds | The New Yorker - 0 views

www.newyorker.com/...liu-cixins-war-of-the-worlds

china science fiction realpolitik psychology science

shared by Javier E on 20 Jun 19 - No Cached
  • he briskly dismissed the idea that fiction could serve as commentary on history or on current affairs. “The whole point is to escape the real world!” he said.
  • Chinese tech entrepreneurs discuss the Hobbesian vision of the trilogy as a metaphor for cutthroat competition in the corporate world; other fans include Barack Obama, who met Liu in Beijing two years ago, and Mark Zuckerberg. Liu’s international career has become a source of national pride. In 2015, China’s then Vice-President, Li Yuanchao, invited Liu to Zhongnanhai—an off-limits complex of government accommodation sometimes compared to the Kremlin—to discuss the books and showed Liu his own copies, which were dense with highlights and annotations.
  • In China, one of his stories has been a set text in the gao kao—the notoriously competitive college-entrance exams that determine the fate of ten million pupils annually; another has appeared in the national seventh-grade-curriculum textbook. When a reporter recently challenged Liu to answer the middle-school questions about the “meaning” and the “central themes” of his story, he didn’t get a single one right. “I’m a writer,” he told me, with a shrug.
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  • Liu’s tomes—they tend to be tomes—have been translated into more than twenty languages, and the trilogy has sold some eight million copies worldwide. He has won China’s highest honor for science-fiction writing, the Galaxy Award, nine times, and in 2015 he became the first Asian writer to win the Hugo Award, the most prestigious international science-fiction prize
  • “The Three-Body Problem” takes its title from an analytical problem in orbital mechanics which has to do with the unpredictable motion of three bodies under mutual gravitational pull. Reading an article about the problem, Liu thought, What if the three bodies were three suns? How would intelligent life on a planet in such a solar system develop? From there, a structure gradually took shape that almost resembles a planetary system, with characters orbiting the central conceit like moons. For better or worse, the characters exist to support the framework of the story rather than to live as individuals on the page.
  • Concepts that seemed abstract to others took on, for him, concrete forms; they were like things he could touch, inducing a “druglike euphoria.” Compared with ordinary literature, he came to feel, “the stories of science are far more magnificent, grand, involved, profound, thrilling, strange, terrifying, mysterious, and even emotional
  • Pragmatic choices like this one, or like the decision his grandparents made when their sons were conscripted, recur in his fiction—situations that present equally unconscionable choices on either side of a moral fulcrum
  • The great flourishing of science fiction in the West at the end of the nineteenth century occurred alongside unprecedented technological progress and the proliferation of the popular press—transformations that were fundamental to the development of the genre
  • Joel Martinsen, the translator of the second volume of Liu’s trilogy, sees the series as a continuation of this tradition. “It’s not hard to read parallels between the Trisolarans and imperialist designs on China, driven by hunger for resources and fear of being wiped out,” he told me. Even Liu, unwilling as he is to endorse comparisons between the plot and China’s current face-off with the U.S., did at one point let slip that “the relationship between politics and science fiction cannot be underestimated.”
  • Speculative fiction is the art of imagining alternative worlds, and the same political establishment that permits it to be used as propaganda for the existing regime is also likely to recognize its capacity to interrogate the legitimacy of the status quo.
  • Liu has been criticized for peopling his books with characters who seem like cardboard cutouts installed in magnificent dioramas. Liu readily admits to the charge. “I did not begin writing for love of literature,” he told me. “I did so for love of science.”
  • Liu believes that this trend signals a deeper shift in the Chinese mind-set—that technological advances have spurred a new excitement about the possibilities of cosmic exploration.
  • Liu’s imagination is dauntingly capacious, his narratives conceived on a scale that feels, at times, almost hallucinogenic. The time line of the trilogy spans 18,906,450 years, encompassing ancient Egypt, the Qin dynasty, the Byzantine Empire, the Cultural Revolution, the present, and a time eighteen million years in the future
  • The first book is set on Earth, though some of its scenes take place in virtual reality; by the end of the third book, the scope of the action is interstellar and annihilation unfolds across several dimensions. The London Review of Books has called the trilogy “one of the most ambitious works of science fiction ever written.”
  • Although physics furnishes the novels’ premises, it is politics that drives the plots. At every turn, the characters are forced to make brutal calculations in which moral absolutism is pitted against the greater good
  • In Liu’s fictional universe, idealism is fatal and kindness an exorbitant luxury. As one general says in the trilogy, “In a time of war, we can’t afford to be too scrupulous.” Indeed, it is usually when people do not play by the rules of Realpolitik that the most lives are lost.
  • “I know what you are thinking,” he told me with weary clarity. “What about individual liberty and freedom of governance?” He sighed, as if exhausted by a debate going on in his head. “But that’s not what Chinese people care about. For ordinary folks, it’s the cost of health care, real-estate prices, their children’s education. Not democracy.”
  • Liu closed his eyes for a long moment and then said quietly, “This is why I don’t like to talk about subjects like this. The truth is you don’t really—I mean, can’t truly—understand.”
  • Liu explained to me, the existing regime made the most sense for today’s China, because to change it would be to invite chaos. “If China were to transform into a democracy, it would be hell on earth,”
  • It was an opinion entirely consistent with his systems-level view of human societies, just as mine reflected a belief in democracy and individualism as principles to be upheld regardless of outcomes
  • “I cannot escape and leave behind reality, just like I cannot leave behind my shadow. Reality brands each of us with its indelible mark. Every era puts invisible shackles on those who have lived through it, and I can only dance in my chains.
  • Chinese people of his generation were lucky, he said. The changes they had seen were so huge that they now inhabited a world entirely different from that of their childhood. “China is a futuristic country,” he said. “I realized that the world around me became more and more like science fiction, and this process is speeding up.”
  • “We have statues of a few martyrs, but we never—We don’t memorialize those, the individuals.” He took off his glasses and blinked, peering into the wide expanse of green and concrete. “This is how we Chinese have always been,” he said. “When something happens, it passes, and time buries the stories.”
Javier E

When Will Climate Change Make the Earth Too Hot For Humans? - 0 views

nymag.com/...-hot-for-humans-annotated.html

climate change forecast humanity death

shared by Javier E on 02 Sep 19 - No Cached
  • Is it helpful, or journalistically ethical, to explore the worst-case scenarios of climate change, however unlikely they are? How much should a writer contextualize scary possibilities with information about how probable those outcomes are, however speculative those probabilities may be?
  • I also believe very firmly in the set of propositions that animated the project from the start:
  • that the public does not appreciate the scale of climate risk
  • ...5 more annotations...
  • that this is in part because we have not spent enough time contemplating the scarier half of the distribution curve of possibilities, especially its brutal long tail, or the risks beyond sea-level rise;
  • that there is journalistic and public-interest value in spreading the news from the scientific community, no matter how unnerving it may be;
  • and that, when it comes to the challenge of climate change, public complacency is a far, far bigger problem than widespread fatalism — that many, many more people are not scared enough than are already “too scared.”
  • The science says climate change threatens nearly every aspect of human life on this planet, and that inaction will hasten the problems. In that context, I don’t think it’s a slur to call an article, or its writer, alarmist. I’ll accept that characterization. We should be alarmed.
  • It is, I promise, worse than you think. If your anxiety about global warming is dominated by fears of sea-level rise, you are barely scratching the surface of what terrors are possible, even within the lifetime of a teenager today.
Javier E

In Defense of Facts - The Atlantic - 1 views

www.theatlantic.com/...508748

essay fact culture truth science knowledge wisdom skepticism research

shared by Javier E on 11 Dec 16 - No Cached
  • over 13 years, he has published a series of anthologies—of the contemporary American essay, of the world essay, and now of the historical American essay—that misrepresents what the essay is and does, that falsifies its history, and that contains, among its numerous selections, very little one would reasonably classify within the genre. And all of this to wide attention and substantial acclaim
  • D’Agata’s rationale for his “new history,” to the extent that one can piece it together from the headnotes that preface each selection, goes something like this. The conventional essay, nonfiction as it is, is nothing more than a delivery system for facts. The genre, as a consequence, has suffered from a chronic lack of critical esteem, and thus of popular attention. The true essay, however, deals not in knowing but in “unknowing”: in uncertainty, imagination, rumination; in wandering and wondering; in openness and inconclusion
  • Every piece of this is false in one way or another.
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  • There are genres whose principal business is fact—journalism, history, popular science—but the essay has never been one of them. If the form possesses a defining characteristic, it is that the essay makes an argument
  • That argument can rest on fact, but it can also rest on anecdote, or introspection, or cultural interpretation, or some combination of all these and more
  • what makes a personal essay an essay and not just an autobiographical narrative is precisely that it uses personal material to develop, however speculatively or intuitively, a larger conclusion.
  • Nonfiction is the source of the narcissistic injury that seems to drive him. “Nonfiction,” he suggests, is like saying “not art,” and if D’Agata, who has himself published several volumes of what he refers to as essays, desires a single thing above all, it is to be known as a maker of art.
  • D’Agata tells us that the term has been in use since about 1950. In fact, it was coined in 1867 by the staff of the Boston Public Library and entered widespread circulation after the turn of the 20th century. The concept’s birth and growth, in other words, did coincide with the rise of the novel to literary preeminence, and nonfiction did long carry an odor of disesteem. But that began to change at least as long ago as the 1960s, with the New Journalism and the “nonfiction novel.”
  • What we really seem to get in D’Agata’s trilogy, in other words, is a compendium of writing that the man himself just happens to like, or that he wants to appropriate as a lineage for his own work.
  • What it’s like is abysmal: partial to trivial formal experimentation, hackneyed artistic rebellion, opaque expressions of private meaning, and modish political posturing
  • If I bought a bag of chickpeas and opened it to find that it contained some chickpeas, some green peas, some pebbles, and some bits of goat poop, I would take it back to the store. And if the shopkeeper said, “Well, they’re ‘lyric’ chickpeas,” I would be entitled to say, “You should’ve told me that before I bought them.”
  • when he isn’t cooking quotes or otherwise fudging the record, he is simply indifferent to issues of factual accuracy, content to rely on a mixture of guesswork, hearsay, and his own rather faulty memory.
  • His rejoinders are more commonly a lot more hostile—not to mention juvenile (“Wow, Jim, your penis must be so much bigger than mine”), defensive, and in their overarching logic, deeply specious. He’s not a journalist, he insists; he’s an essayist. He isn’t dealing in anything as mundane as the facts; he’s dealing in “art, dickhead,” in “poetry,” and there are no rules in art.
  • D’Agata replies that there is something between history and fiction. “We all believe in emotional truths that could never hold water, but we still cling to them and insist on their relevance.” The “emotional truths” here, of course, are D’Agata’s, not Presley’s. If it feels right to say that tae kwon do was invented in ancient India (not modern Korea, as Fingal discovers it was), then that is when it was invented. The term for this is truthiness.
  • D’Agata clearly wants to have it both ways. He wants the imaginative freedom of fiction without relinquishing the credibility (and for some readers, the significance) of nonfiction. He has his fingers crossed, and he’s holding them behind his back. “John’s a different kind of writer,” an editor explains to Fingal early in the book. Indeed he is. But the word for such a writer isn’t essayist. It’s liar.
  • he point of all this nonsense, and a great deal more just like it, is to advance an argument about the essay and its history. The form, D’Agata’s story seems to go, was neglected during the long ages that worshiped “information” but slowly emerged during the 19th and 20th centuries as artists learned to defy convention and untrammel their imaginations, coming fully into its own over the past several decades with the dawning recognition of the illusory nature of knowledge.
  • Most delectable is when he speaks about “the essay’s traditional ‘five-paragraph’ form.” I almost fell off my chair when I got to that one. The five-paragraph essay—introduction, three body paragraphs, conclusion; stultifying, formulaic, repetitive—is the province of high-school English teachers. I have never met one outside of a classroom, and like any decent college writing instructor, I never failed to try to wean my students away from them. The five-paragraph essay isn’t an essay; it’s a paper.
  • What he fails to understand is that facts and the essay are not antagonists but siblings, offspring of the same historical moment
  • —by ignoring the actual contexts of his selections, and thus their actual intentions—D’Agata makes the familiar contemporary move of imposing his own conceits and concerns upon the past. That is how ethnography turns into “song,” Socrates into an essayist, and the whole of literary history into a single man’s “emotional truth.”
  • The history of the essay is indeed intertwined with “facts,” but in a very different way than D’Agata imagines. D’Agata’s mind is Manichaean. Facts bad, imagination good
  • When he refers to his selections as essays, he does more than falsify the essay as a genre. He also effaces all the genres that they do belong to: not only poetry, fiction, journalism, and travel, but, among his older choices, history, parable, satire, the sermon, and more—genres that possess their own particular traditions, conventions, and expectation
  • one needs to recognize that facts themselves have a history.
  • Facts are not just any sort of knowledge, such as also existed in the ancient and medieval worlds. A fact is a unit of information that has been established through uniquely modern methods
  • Fact, etymologically, means “something done”—that is, an act or deed
  • It was only in the 16th century—an age that saw the dawning of a new empirical spirit, one that would issue not only in modern science, but also in modern historiography, journalism, and scholarship—that the word began to signify our current sense of “real state of things.”
  • It was at this exact time, and in this exact spirit, that the essay was born. What distinguished Montaigne’s new form—his “essays” or attempts to discover and publish the truth about himself—was not that it was personal (precursors like Seneca also wrote personally), but that it was scrupulously investigative. Montaigne was conducting research into his soul, and he was determined to get it right.
  • His famous motto, Que sais-je?—“What do I know?”—was an expression not of radical doubt but of the kind of skepticism that fueled the modern revolution in knowledge.
  • It is no coincidence that the first English essayist, Galileo’s contemporary Francis Bacon, was also the first great theorist of science.
  • That knowledge is problematic—difficult to establish, labile once created, often imprecise and always subject to the limitations of the human mind—is not the discovery of postmodernism. It is a foundational insight of the age of science, of fact and information, itself.
  • The point is not that facts do not exist, but that they are unstable (and are becoming more so as the pace of science quickens). Knowledge is always an attempt. Every fact was established by an argument—by observation and interpretation—and is susceptible to being overturned by a different one
  • A fact, you might say, is nothing more than a frozen argument, the place where a given line of investigation has come temporarily to rest.
  • Sometimes those arguments are scientific papers. Sometimes they are news reports, which are arguments with everything except the conclusions left out (the legwork, the notes, the triangulation of sources—the research and the reasoning).
  • When it comes to essays, though, we don’t refer to those conclusions as facts. We refer to them as wisdom, or ideas
  • the essay draws its strength not from separating reason and imagination but from putting them in conversation. A good essay moves fluidly between thought and feeling. It subjects the personal to the rigors of the intellect and the discipline of external reality. The truths it finds are more than just emotional.
Javier E

An Algorithm Isn't Always the Answer - The New York Times - 1 views

www.nytimes.com/...-algorithms-online-dating.html

algorithm love optimization psychology knowledge

shared by Javier E on 25 Nov 17 - No Cached
  • in just about every aspect of my life I seek order and safety.
  • Picture me on Tinder circa 2014.
  • Here are my search criteria: I’m looking for men in my area (no farther than three miles away, because traveling is such a hassle and I take too many cabs as it is) who are anywhere from two years younger than me up to 10 years older (going on the assumption that women mature more quickly than men). And for goodness’ sake, my friends would tell me, find a man who isn’t a writer — they’re way too emotionally unstable. Certainly if I could check most of those items off the checklist, I’d find love or some good enough approximation of it. Advertisement Continue reading the main story
  • ...4 more annotations...
  • How did it go? I was absolutely miserable dating appropriate-age marketing associates who lived near me. I always wanted to be at home reading instead
  • Then one night I held a reading with some authors I admire at a bookstore, and I threw an after-party at my favorite dive bar. In walked a friend of a friend who I sort of knew from the internet but who I’d never met in real life. He is six years younger than I am (way too young for me) and he lived in Harlem (that’s a $40 cab fare from my home in Brooklyn) and he’s a writer/comedian (warning flags coming at me from every direction). But we talked and he charmed me. He was online dating, too, but I never would’ve found him on an app. He wasn’t on my metaphorical vision board, but he fit into my real life in ways I never could’ve imagined. He’s my husband now. (He likes David Foster Wallace.)
  • The internet is supposed to make it easier for us to find people and places and perfect gifts, and more profitable for companies that offer those services. And yet here I am, with my too-old dog and my too-young husband and my ever-growing book collection, happier than I could have predicted.
  • It’s risky not to have data, to be without numbers you can plug in when you’re looking for something or someone to love. We think we know exactly what we want. But I hope that our guts remain true to our hearts, and in this world measured by clicks and stars and highest customer reviews, we remember that some rules are made to be broken in the most delightful of ways.
anonymous

Excellence Runs in the Family. Her Novel's Heroine Wants Something Else. - The New York... - 0 views

www.nytimes.com/...aitlyn-greenidge-libertie.html

shared by anonymous on 27 Mar 21 - No Cached
  • Excellence Runs in the Family. Her Novel’s Heroine Wants Something Else
  • Kaitlyn Greenidge and her sisters achieved success in their respective fields
  • In her historical novel, “Libertie,” she focuses on a Black woman who doesn’t yearn to be the first or only one of anything.
  • ...23 more annotations...
  • Kaitlyn Greenidge learned about the first Black woman to become a doctor in New York. “I filed it away and thought, if I ever got a chance to write a novel, I would want it to be about this,” she said.
  • Libertie, the rebellious heroine of Kaitlyn Greenidge’s new novel, comes from an extraordinary family, but longs to be ordinary.
  • As a young Black woman growing up in Reconstruction-era Brooklyn, Libertie is expected to follow in the footsteps of her trailblazing mother, a doctor who founded a women’s clinic.
  • “So much of Black history is focused on exceptional people,”
  • I wanted to explore is, what’s the emotional and psychological toll of being an exception, of being exceptional, and also, what about the people who just want to have a regular life and find freedom and achievement in being able to live in peace with their family — which is what Libertie wants?”
  • “If you come from a marginalized community, one of the ways you are marginalized is people telling you that you don’t have any history, or that your history is somehow diminished, or it’s very flat, or it’s not somehow as rich as the dominant history.”
  • “That idea of being the first and the only was a big piece of our experience,”
  • They are engaged in ongoing conversations about their writing, though they draw the line at reading and editing drafts of one another’s work.
  • Libertie
  • The novel has drawn praise from writers like Jacqueline Woodson, Mira Jacob and Garth Greenwell, who wrote in a blurb that Greenidge “adds an indelible new sound to American literature, and confirms her status as one of our most gifted young writers.”
  • raised by a single mother who struggled to support the family on her social worker’s salary,
  • “I’ve always been interested in the histories of things that are lesser known,”
  • “There’s a really powerful lyricism that feels new in this voice,”
  • Greenidge and her sisters developed a reverence for storytelling and history early on, when their parents and grandparents would tell stories about their ancestors and what life was like during the civil rights movement.
  • “That fracture was really formative for me,” she said. “It made me hyper aware of inequality and the doublespeak that goes on in America around the American dream and American exceptionalism, because that was proven to me not to be true.”
  • Greenidge was collecting stories from people whose ancestors had lived there, and tracked down a woman named Ellen Holly, who was the first Black actress to have a lead, recurring role on daytime TV, in “One Life to Live.”
  • Greenidge filed the family’s saga away in her mind, thinking she had the premise for a novel. When she got a writing fellowship, she was able to quit her side jobs and immerse herself in the research the novel required.
  • The resulting story feels both epic and intimate. As she reimagined the lives of the doctor and her daughter, Greenidge wove in other historical figures and events.
  • In one horrific scene, Libertie and her mother tend to Black families who fled Manhattan during the New York City draft riots.
  • Greenidge also drew on her own family history, and her experience of being a new mother.
  • Her daughter, Mavis, was born days after she finished a second draft of the book, and is now 18 months old. She finished revisions while living in a multigenerational household with her own mother and sisters.
  • “Mother-daughter relationships are like the central relationships in my life,”
  • “I cannot think of a greater freedom than raising you,”
Javier E

Accelerationism: how a fringe philosophy predicted the future we live in | World news |... - 1 views

www.theguardian.com/...redicted-the-future-we-live-in

philosophy fringe acceleration psychology technology

shared by Javier E on 11 May 17 - No Cached
  • Roger Zelazny, published his third novel. In many ways, Lord of Light was of its time, shaggy with imported Hindu mythology and cosmic dialogue. Yet there were also glints of something more forward-looking and political.
  • accelerationism has gradually solidified from a fictional device into an actual intellectual movement: a new way of thinking about the contemporary world and its potential.
  • Accelerationists argue that technology, particularly computer technology, and capitalism, particularly the most aggressive, global variety, should be massively sped up and intensified – either because this is the best way forward for humanity, or because there is no alternative.
  • ...31 more annotations...
  • Accelerationists favour automation. They favour the further merging of the digital and the human. They often favour the deregulation of business, and drastically scaled-back government. They believe that people should stop deluding themselves that economic and technological progress can be controlled.
  • Accelerationism, therefore, goes against conservatism, traditional socialism, social democracy, environmentalism, protectionism, populism, nationalism, localism and all the other ideologies that have sought to moderate or reverse the already hugely disruptive, seemingly runaway pace of change in the modern world
  • Robin Mackay and Armen Avanessian in their introduction to #Accelerate: The Accelerationist Reader, a sometimes baffling, sometimes exhilarating book, published in 2014, which remains the only proper guide to the movement in existence.
  • “We all live in an operating system set up by the accelerating triad of war, capitalism and emergent AI,” says Steve Goodman, a British accelerationist
  • A century ago, the writers and artists of the Italian futurist movement fell in love with the machines of the industrial era and their apparent ability to invigorate society. Many futurists followed this fascination into war-mongering and fascism.
  • One of the central figures of accelerationism is the British philosopher Nick Land, who taught at Warwick University in the 1990s
  • Land has published prolifically on the internet, not always under his own name, about the supposed obsolescence of western democracy; he has also written approvingly about “human biodiversity” and “capitalistic human sorting” – the pseudoscientific idea, currently popular on the far right, that different races “naturally” fare differently in the modern world; and about the supposedly inevitable “disintegration of the human species” when artificial intelligence improves sufficiently.
  • In our politically febrile times, the impatient, intemperate, possibly revolutionary ideas of accelerationism feel relevant, or at least intriguing, as never before. Noys says: “Accelerationists always seem to have an answer. If capitalism is going fast, they say it needs to go faster. If capitalism hits a bump in the road, and slows down” – as it has since the 2008 financial crisis – “they say it needs to be kickstarted.”
  • On alt-right blogs, Land in particular has become a name to conjure with. Commenters have excitedly noted the connections between some of his ideas and the thinking of both the libertarian Silicon Valley billionaire Peter Thiel and Trump’s iconoclastic strategist Steve Bannon.
  • “In Silicon Valley,” says Fred Turner, a leading historian of America’s digital industries, “accelerationism is part of a whole movement which is saying, we don’t need [conventional] politics any more, we can get rid of ‘left’ and ‘right’, if we just get technology right. Accelerationism also fits with how electronic devices are marketed – the promise that, finally, they will help us leave the material world, all the mess of the physical, far behind.”
  • In 1972, the philosopher Gilles Deleuze and the psychoanalyst Félix Guattari published Anti-Oedipus. It was a restless, sprawling, appealingly ambiguous book, which suggested that, rather than simply oppose capitalism, the left should acknowledge its ability to liberate as well as oppress people, and should seek to strengthen these anarchic tendencies, “to go still further … in the movement of the market … to ‘accelerate the process’”.
  • By the early 90s Land had distilled his reading, which included Deleuze and Guattari and Lyotard, into a set of ideas and a writing style that, to his students at least, were visionary and thrillingly dangerous. Land wrote in 1992 that capitalism had never been properly unleashed, but instead had always been held back by politics, “the last great sentimental indulgence of mankind”. He dismissed Europe as a sclerotic, increasingly marginal place, “the racial trash-can of Asia”. And he saw civilisation everywhere accelerating towards an apocalypse: “Disorder must increase... Any [human] organisation is ... a mere ... detour in the inexorable death-flow.”
  • With the internet becoming part of everyday life for the first time, and capitalism seemingly triumphant after the collapse of communism in 1989, a belief that the future would be almost entirely shaped by computers and globalisation – the accelerated “movement of the market” that Deleuze and Guattari had called for two decades earlier – spread across British and American academia and politics during the 90s. The Warwick accelerationists were in the vanguard.
  • In the US, confident, rainbow-coloured magazines such as Wired promoted what became known as “the Californian ideology”: the optimistic claim that human potential would be unlocked everywhere by digital technology. In Britain, this optimism influenced New Labour
  • The Warwick accelerationists saw themselves as participants, not traditional academic observers
  • The CCRU gang formed reading groups and set up conferences and journals. They squeezed into the narrow CCRU room in the philosophy department and gave each other impromptu seminars.
  • The main result of the CCRU’s frantic, promiscuous research was a conveyor belt of cryptic articles, crammed with invented terms, sometimes speculative to the point of being fiction.
  • At Warwick, however, the prophecies were darker. “One of our motives,” says Plant, “was precisely to undermine the cheery utopianism of the 90s, much of which seemed very conservative” – an old-fashioned male desire for salvation through gadgets, in her view.
  • K-punk was written by Mark Fisher, formerly of the CCRU. The blog retained some Warwick traits, such as quoting reverently from Deleuze and Guattari, but it gradually shed the CCRU’s aggressive rhetoric and pro-capitalist politics for a more forgiving, more left-leaning take on modernity. Fisher increasingly felt that capitalism was a disappointment to accelerationists, with its cautious, entrenched corporations and endless cycles of essentially the same products. But he was also impatient with the left, which he thought was ignoring new technology
  • lex Williams, co-wrote a Manifesto for an Accelerationist Politics. “Capitalism has begun to constrain the productive forces of technology,” they wrote. “[Our version of] accelerationism is the basic belief that these capacities can and should be let loose … repurposed towards common ends … towards an alternative modernity.”
  • What that “alternative modernity” might be was barely, but seductively, sketched out, with fleeting references to reduced working hours, to technology being used to reduce social conflict rather than exacerbate it, and to humanity moving “beyond the limitations of the earth and our own immediate bodily forms”. On politics and philosophy blogs from Britain to the US and Italy, the notion spread that Srnicek and Williams had founded a new political philosophy: “left accelerationism”.
  • Two years later, in 2015, they expanded the manifesto into a slightly more concrete book, Inventing the Future. It argued for an economy based as far as possible on automation, with the jobs, working hours and wages lost replaced by a universal basic income. The book attracted more attention than a speculative leftwing work had for years, with interest and praise from intellectually curious leftists
  • Even the thinking of the arch-accelerationist Nick Land, who is 55 now, may be slowing down. Since 2013, he has become a guru for the US-based far-right movement neoreaction, or NRx as it often calls itself. Neoreactionaries believe in the replacement of modern nation-states, democracy and government bureaucracies by authoritarian city states, which on neoreaction blogs sound as much like idealised medieval kingdoms as they do modern enclaves such as Singapore.
  • Land argues now that neoreaction, like Trump and Brexit, is something that accelerationists should support, in order to hasten the end of the status quo.
  • In 1970, the American writer Alvin Toffler, an exponent of accelerationism’s more playful intellectual cousin, futurology, published Future Shock, a book about the possibilities and dangers of new technology. Toffler predicted the imminent arrival of artificial intelligence, cryonics, cloning and robots working behind airline check-in desks
  • Land left Britain. He moved to Taiwan “early in the new millennium”, he told me, then to Shanghai “a couple of years later”. He still lives there now.
  • In a 2004 article for the Shanghai Star, an English-language paper, he described the modern Chinese fusion of Marxism and capitalism as “the greatest political engine of social and economic development the world has ever known”
  • Once he lived there, Land told me, he realised that “to a massive degree” China was already an accelerationist society: fixated by the future and changing at speed. Presented with the sweeping projects of the Chinese state, his previous, libertarian contempt for the capabilities of governments fell away
  • Without a dynamic capitalism to feed off, as Deleuze and Guattari had in the early 70s, and the Warwick philosophers had in the 90s, it may be that accelerationism just races up blind alleys. In his 2014 book about the movement, Malign Velocities, Benjamin Noys accuses it of offering “false” solutions to current technological and economic dilemmas. With accelerationism, he writes, a breakthrough to a better future is “always promised and always just out of reach”.
  • “The pace of change accelerates,” concluded a documentary version of the book, with a slightly hammy voiceover by Orson Welles. “We are living through one of the greatest revolutions in history – the birth of a new civilisation.”
  • Shortly afterwards, the 1973 oil crisis struck. World capitalism did not accelerate again for almost a decade. For much of the “new civilisation” Toffler promised, we are still waiting
caelengrubb

Why it's time to stop worrying about the decline of the English language | Language | T... - 0 views

www.theguardian.com/...ecline-of-the-english-language

shared by caelengrubb on 07 Jun 21 - No Cached
  • Now imagine that something even more fundamental than electricity or money is at risk: a tool we have relied on since the dawn of human history, enabling the very foundations of civilisation to be laid
  • I’m talking about our ability to communicate – to put our thoughts into words, and to use those words to forge bonds, to deliver vital information, to learn from our mistakes and build on the work done by others.
  • “Their language is deteriorating. They are lowering the bar. Our language is flying off at all tangents, without the anchor of a solid foundation.
  • ...20 more annotations...
  • Although it is at pains to point out that it does not believe language can be preserved unchanged, it worries that communication is at risk of becoming far less effective. “Some changes would be wholly unacceptable, as they would cause confusion and the language would lose shades of meaning
  • “Without grammar, we lose the agreed-upon standards about what means what. We lose the ability to communicate when respondents are not actually in the same room speaking to one another. Without grammar, we lose the precision required to be effective and purposeful in writing.”
  • At the same time, our laziness and imprecision are leading to unnecessary bloating of the language – “language obesity,”
  • That’s five writers, across a span of 400 years, all moaning about the same erosion of standards. And yet the period also encompasses some of the greatest works of English literature.
  • Since then, the English-speaking world has grown more prosperous, better educated and more efficiently governed, despite an increase in population. Most democratic freedoms have been preserved and intellectual achievement intensified.
  • Linguistic decline is the cultural equivalent of the boy who cried wolf, except the wolf never turns up
  • Our language will always be as flexible and sophisticated as it has been up to now. Those who warn about the deterioration of English haven’t learned about the history of the language, and don’t understand the nature of their own complaints – which are simply statements of preference for the way of doing things they have become used to.
  • But the problem is that writers at that time also felt they were speaking a degraded, faltering tongue
  • Seventy-odd years ago, people knew their grammar and knew how to talk clearly. And, if we follow the logic, they must also have been better at organising, finding things out and making things work.
  • Hand-wringing about standards is not restricted to English. The fate of every language in the world has been lamented by its speakers at some point or another.
  • “For more than 2,000 years, complaints about the decay of respective languages have been documented in literature, but no one has yet been able to name an example of a ‘decayed language’.” He has a point.
  • One common driver of linguistic change is a process called reanalysis.
  • Another form that linguistic change often takes is grammaticalisation: a process in which a common phrase is bleached of its independent meaning and made into a word with a solely grammatical function
  • One instance of this is the verb “to go”, when used for an action in the near future or an intention.
  • Human anatomy makes some changes to language more likely than others. The simple mechanics of moving from a nasal sound (m or n) to a non-nasal one can make a consonant pop up in between
  • The way our brain divides up words also drives change. We split them into phonemes (building blocks of sound that have special perceptual significance) and syllables (groups of phonemes).
  • ound changes can come about as a result of social pressures: certain ways of saying things are seen as having prestige, while others are stigmatised. We gravitate towards the prestigious, and make efforts to avoid saying things in a way that is associated with undesirable qualities – often just below the level of consciousnes
  • The problem arises when deciding what might be good or bad. There are, despite what many people feel, no objective criteria by which to judge what is better or worse in communication
  • Though we are all capable of adaptation, many aspects of the way we use language, including stylistic preferences, have solidified by our 20s. If you are in your 50s, you may identify with many aspects of the way people spoke 30-45 years ago.
  • The irony is, of course, that the pedants are the ones making the mistakes. To people who know how language works, pundits such as Douglas Rushkoff only end up sounding ignorant, having failed to really interrogate their views
runlai_jiang

You Asked About CES 2018. We Answered. - The New York Times - 0 views

www.nytimes.com/...ces-2018-reader-questions.html

shared by runlai_jiang on 15 Jan 18 - No Cached
  • You Asked About CES 2018. We Answered. By BRIAN X. CHEN At the International Consumer Electronics Show this week in Las Vegas, thousands of tech companies showcased some of the hottest new innovations: artificial intelligence, self-driving car tech, the smart home, voice-controlled accessories, fifth-generation cellular connectivity and more.Curious about the new products and how they will affect your personal technology? Readers asked Brian X. Chen, our lead consumer technology writer who is attending the trade show, their questions about wireless, TV and the Internet of Things. 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  • At the International Consumer Electronics Show this week in Las Vegas, thousands of tech companies showcased some of the hottest new innovations: artificial intelligence, self-driving car tech, the smart home, voice-controlled accessories, fifth-generation cellular connectivity and more.
  • Curious about the new products and how they will affect your personal technology? Readers asked Brian X. Chen, our lead consumer technology writer who attended the trade show, their questions about wireless, TV and the Internet of Things. (In addition,
Javier E

I Actually Read Woody Allen's Memoir - The Atlantic - 0 views

www.theatlantic.com/...612736

morality art censorship

shared by Javier E on 07 Jun 20 - No Cached
  • I’m a Woody Allen person, not because I disbelieve Dylan—in fact, I believe her. I’m a Woody Allen person because his movies helped shape me, and I can’t unsee them, the way I can’t un-read The Great Gatsby or un-hear “Gimme Shelter.” These are things that informed my sensibilities. All of them are part of me.
  • As to our opinion about his past, one thing is for sure: He couldn’t care less about it. “Rather than live on in the hearts and mind of the public,” he says in the final lines of the book, “I prefer to live on in my apartment.”Exit laughing.
  • the scene in Hannah and Her Sisters in which the Woody Allen character, distraught by his realization that there is no God and considering suicide, stumbles into a revival house to find the movie playing. He says in voice-over: The movie was a film that I’d seen many times in my life since I was a kid, and I always loved it. And I’m watching these people up on the screen and I started getting hooked on the film. And I started to feel,  How can you even think of killing yourself? I mean, isn’t it so stupid? I mean, look at all the people up there on the screen. They’re real funny—and what if the worst is true? What if there’s no God and you only go around once and that’s it? Well, you know, don’t you want to be part of the experience? I did.I do.
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  • Can we still enjoy his work?  Of course we can, because the movies don’t really belong to Woody Allen any more than they do to you and me.
  • Some wrongs are so great that no legal or bureaucratic process can ever make things right. At some point, the only way to get unchained from a monster is through forgiveness. It would seem impossible for Geimer to be able to forgive Polanski, but she did—who understands how grace operates?—and has apparently been at peace ever since.
  • Woody Allen taught us that New York is the center of the world and L.A. is outer space. He installed himself in Elaine’s for a thousand dinners in the company of glittering figures of yesteryear (Norman Mailer! Liza Minnelli! Bill Bradley!) and made movie after movie and became one of the famous people the rest of the country associates most closely with the city.
  • He’s a 42-year-old guy with a 12th grade girlfriend, and if you want to understand the ’70s, maybe I have to tell you only that Vincent Canby’s review in The New York Times made no particular note of this fact other than to describe Tracy—played by Mariel Hemingway—as “a beautiful, 17-year-old nymphet with a turned-down mouth.” Or I could tell you that Manhattan was nominated for two Academy Awards and was widely loved by the in-crowd.
  • Soon enough he was writing, directing, and then acting in his own movies. He developed a particular method of moviemaking that was in some regards reminiscent of the studio system: he worked fast, almost never rehearsed, and rarely shot multiple takes or engineered complex shots: “As long as you’re dealing with comedy, particularly broad comedy, all you want is the scene should be lit, loud and fast.”
  • Allen is one of the great storytellers of his time, completely original, and any version of his life—including this one, in which we are obviously in the hands of an unreliable narrator, although no more so than in any of his autobiographical movies—can only be riveting. In a matter of phrases, he accomplishes things it takes a lesser writer several chapters to establish
  • We have the damn thing. What are we going to do with it? I suppose we could start—why not?—by actually reading it. And within just a phrase or two, you realize why people were afraid of it: Allen is a matchless comic writer and one whose voice is so well known by his aging fans that it’s as though the book is pouring into you through a special receiver dedicated just to him. Woody Allen does a great Woody Allen.
Javier E

The "missing law" of nature was here all along | Salon.com - 0 views

www.salon.com/...w-of-nature-was-here-all-along

salon science communication evolution natural selection convergence stories information

shared by Javier E on 05 Dec 23 - No Cached
  • recently published scientific article proposes a sweeping new law of nature, approaching the matter with dry, clinical efficiency that still reads like poetry.
  • “Evolving systems are asymmetrical with respect to time; they display temporal increases in diversity, distribution, and/or patterned behavior,” they continue, mounting their case from the shoulders of Charles Darwin, extending it toward all things living and not. 
  • To join the known physics laws of thermodynamics, electromagnetism and Newton’s laws of motion and gravity, the nine scientists and philosophers behind the paper propose their “law of increasing functional information.”
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  • In short, a complex and evolving system — whether that’s a flock of gold finches or a nebula or the English language — will produce ever more diverse and intricately detailed states and configurations of itself.
  • Some of these more diverse and intricate configurations, the scientists write, are shed and forgotten over time. The configurations that persist are ones that find some utility or novel function in a process akin to natural selection, but a selection process driven by the passing-on of information rather than just the sowing of biological genes
  • Have they finally glimpsed, I wonder, the connectedness and symbiotic co-evolution of their own scientific ideas with those of the world’s writers
  • Have they learned to describe in their own quantifying language that cradle from which both our disciplines have emerged and the firmament on which they both stand — the hearing and telling of stories in order to exist?
  • Have they quantified the quality of all existent matter, living and not: that all things inherit a story in data to tell, and that our stories are told by the very forms we take to tell them? 
  • “Is there a universal basis for selection? Is there a more quantitative formalism underlying this conjectured conceptual equivalence—a formalism rooted in the transfer of information?,” they ask of the world’s disparate phenomena. “The answer to both questions is yes.”
  • Yes. They’ve glimpsed it, whether they know it or not. Sing to me, O Muse, of functional information and its complex diversity.
  • The principle of complexity evolving at its own pace when left to its own devices, independent of time but certainly in a dance with it, is nothing new. Not in science, nor in its closest humanities kin, science and nature writing. Give things time and nourishing environs, protect them from your own intrusions and — living organisms or not — they will produce abundant enlacement of forms.
  • This is how poetry was born from the same larynxes and phalanges that tendered nuclear equations: We featherless bipeds gave language our time and delighted attendance until its forms were so multivariate that they overflowed with inevitable utility.
  • In her Pulitzer-winning “Pilgrim at Tinker Creek,” nature writer Annie Dillard explains plainly that evolution is the vehicle of such intricacy in the natural world, as much as it is in our own thoughts and actions. 
  • “The stability of simple forms is the sturdy base from which more complex, stable forms might arise, forming in turn more complex forms,” she explains, drawing on the undercap frills of mushrooms and filament-fine filtering tubes inside human kidneys to illustrate her point. 
  • “Utility to the creature is evolution’s only aesthetic consideration. Form follows function in the created world, so far as I know, and the creature that functions, however bizarre, survives to perpetuate its form,” writes Dillard.
  • “Of the multiplicity of forms, I know nothing. Except that, apparently, anything goes. This holds for forms of behavior as well as design — the mantis munching her mate, the frog wintering in mud.” 
  • She notes that, of all forms of life we’ve ever known to exist, only about 10% are still alive. What extravagant multiplicity. 
  • “Intricacy is that which is given from the beginning, the birthright, and in the intricacy is the hardiness of complexity that ensures against the failures of all life,” Dillard writes. “The wonder is — given the errant nature of freedom and the burgeoning texture of time — the wonder is that all the forms are not monsters, that there is beauty at all, grace gratuitous.”
  • “This paper, and the reason why I'm so proud of it, is because it really represents a connection between science and the philosophy of science that perhaps offers a new lens into why we see everything that we see in the universe,” lead scientist Michael Wong told Motherboard in a recent interview. 
  • Wong is an astrobiologist and planetary scientist at the Carnegie Institute for Science. In his team’s paper, that bridge toward scientific philosophy is not only preceded by a long history of literary creativity but directly theorizes about the creative act itself.  
  • “The creation of art and music may seem to have very little to do with the maintenance of society, but their origins may stem from the need to transmit information and create bonds among communities, and to this day, they enrich life in innumerable ways,” Wong’s team writes.  
  • “Perhaps, like eddies swirling off of a primary flow field, selection pressures for ancillary functions can become so distant from the core functions of their host systems that they can effectively be treated as independently evolving systems,” the authors add, pointing toward the elaborate mating dance culture observed in birds of paradise.
  • “Perhaps it will be humanity’s ability to learn, invent, and adopt new collective modes of being that will lead to its long-term persistence as a planetary phenomenon. In light of these considerations, we suspect that the general principles of selection and function discussed here may also apply to the evolution of symbolic and social systems.”
  • The Mekhilta teaches that all Ten Commandments were pronounced in a single utterance. Similarly, the Maharsha says the Torah’s 613 mitzvoth are only perceived as a plurality because we’re time-bound humans, even though they together form a singular truth which is indivisible from He who expressed it. 
  • Or, as the Mishna would have it, “the creations were all made in generic form, and they gradually expanded.” 
  • Like swirling eddies off of a primary flow field.
  • “O Lord, how manifold are thy works!,” cried out David in his psalm. “In wisdom hast thou made them all: the earth is full of thy riches. So is this great and wide sea, wherein are things creeping innumerable, both small and great beasts.” 
  • In all things, then — from poetic inventions, to rare biodiverse ecosystems, to the charted history of our interstellar equations — it is best if we conserve our world’s intellectual and physical diversity, for both the study and testimony of its immeasurable multiplicity.
  • Because, whether wittingly or not, science is singing the tune of the humanities. And whether expressed in algebraic logic or ancient Greek hymn, its chorus is the same throughout the universe: Be fruitful and multiply. 
  • Both intricate configurations of art and matter arise and fade according to their shared characteristic, long-known by students of the humanities: each have been graced with enough time to attend to the necessary affairs of their most enduring pleasures. 
Javier E

How will humanity endure the climate crisis? I asked an acclaimed sci-fi writer | Danie... - 0 views

www.theguardian.com/...te-crisis-kim-stanley-robinson

climate change crisis response politics international humanity science technology writer cli-fi

shared by Javier E on 11 Dec 21 - No Cached
  • To really grasp the present, we need to imagine the future – then look back from it to better see the now. The angry climate kids do this naturally. The rest of us need to read good science fiction. A great place to start is Kim Stanley Robinson.
  • read 11 of his books, culminating in his instant classic The Ministry for the Future, which imagines several decades of climate politics starting this decade.
  • The first lesson of his books is obvious: climate is the story.
  • ...29 more annotations...
  • What Ministry and other Robinson books do is make us slow down the apocalyptic highlight reel, letting the story play in human time for years, decades, centuries.
  • he wants leftists to set aside their differences, and put a “time stamp on [their] political view” that recognizes how urgent things are. Looking back from 2050 leaves little room for abstract idealism. Progressives need to form “a united front,” he told me. “It’s an all-hands-on-deck situation; species are going extinct and biomes are dying. The catastrophes are here and now, so we need to make political coalitions.”
  • he does want leftists – and everyone else – to take the climate emergency more seriously. He thinks every big decision, every technological option, every political opportunity, warrants climate-oriented scientific scrutiny. Global justice demands nothing less.
  • He wants to legitimize geoengineering, even in forms as radical as blasting limestone dust into the atmosphere for a few years to temporarily dim the heat of the sun
  • Robinson believes that once progressives internalize the insight that the economy is a social construct just like anything else, they can determine – based on the contemporary balance of political forces, ecological needs, and available tools – the most efficient methods for bringing carbon and capital into closer alignment.
  • We live in a world where capitalist states and giant companies largely control science.
  • Yes, we need to consider technologies with an open mind. That includes a frank assessment of how the interests of the powerful will shape how technologies develop
  • Robinson’s imagined future suggests a short-term solution that fits his dreams of a democratic, scientific politics: planning, of both the economy and planet.
  • it’s borrowed from Robinson’s reading of ecological economics. That field’s premise is that the economy is embedded in nature – that its fundamental rules aren’t supply and demand, but the laws of physics, chemistry, biology.
  • The upshot of Robinson’s science fiction is understanding that grand ecologies and human economies are always interdependent.
  • Robinson seems to be urging all of us to treat every possible technological intervention – from expanding nuclear energy, to pumping meltwater out from under glaciers, to dumping iron filings in the ocean – from a strictly scientific perspective: reject dogma, evaluate the evidence, ignore the profit motive.
  • Robinson’s elegant solution, as rendered in Ministry, is carbon quantitative easing. The idea is that central banks invent a new currency; to earn the carbon coins, institutions must show that they’re sucking excess carbon down from the sky. In his novel, this happens thanks to a series of meetings between United Nations technocrats and central bankers. But the technocrats only win the arguments because there’s enough rage, protest and organizing in the streets to force the bankers’ hand.
  • Seen from Mars, then, the problem of 21st-century climate economics is to sync public and private systems of capital with the ecological system of carbon.
  • Success will snowball; we’ll democratically plan more and more of the eco-economy.
  • Robinson thus gets that climate politics are fundamentally the politics of investment – extremely big investments. As he put it to me, carbon quantitative easing isn’t the “silver bullet solution,” just one of several green investment mechanisms we need to experiment with.
  • Robinson shares the great anarchist dream. “Everybody on the planet has an equal amount of power, and comfort, and wealth,” he said. “It’s an obvious goal” but there’s no shortcut.
  • In his political economy, like his imagined settling of Mars, Robinson tries to think like a bench scientist – an experimentalist, wary of unifying theories, eager for many groups to try many things.
  • there’s something liberating about Robinson’s commitment to the scientific method: reasonable people can shed their prejudices, consider all the options and act strategically.
  • The years ahead will be brutal. In Ministry, tens of millions of people die in disasters – and that’s in a scenario that Robinson portrays as relatively optimistic
  • when things get that bad, people take up arms. In Ministry’s imagined future, the rise of weaponized drones allows shadowy environmentalists to attack and kill fossil capitalists. Many – including myself – have used the phrase “eco-terrorism” to describe that violence. Robinson pushed back when we talked. “What if you call that resistance to capitalism realism?” he asked. “What if you call that, well, ‘Freedom fighters’?”
  • Robinson insists that he doesn’t condone the violence depicted in his book; he simply can’t imagine a realistic account of 21st century climate politics in which it doesn’t occur.
  • Malm writes that it’s shocking how little political violence there has been around climate change so far, given how brutally the harms will be felt in communities of color, especially in the global south, who bear no responsibility for the cataclysm, and where political violence has been historically effective in anticolonial struggles.
  • In Ministry, there’s a lot of violence, but mostly off-stage. We see enough to appreciate Robinson’s consistent vision of most people as basically thoughtful: the armed struggle is vicious, but its leaders are reasonable, strategic.
  • the implications are straightforward: there will be escalating violence, escalating state repression and increasing political instability. We must plan for that too.
  • maybe that’s the tension that is Ministry’s greatest lesson for climate politics today. No document that could win consensus at a UN climate summit will be anywhere near enough to prevent catastrophic warming. We can only keep up with history, and clearly see what needs to be done, by tearing our minds out of the present and imagining more radical future vantage points
  • If millions of people around the world can do that, in an increasingly violent era of climate disasters, those people could generate enough good projects to add up to something like a rational plan – and buy us enough time to stabilize the climate, while wresting power from the 1%.
  • Robinson’s optimistic view is that human nature is fundamentally thoughtful, and that it will save us – that the social process of arguing and politicking, with minds as open as we can manage, is a project older than capitalism, and one that will eventually outlive it
  • It’s a perspective worth thinking about – so long as we’re also organizing.
  • Daniel Aldana Cohen is assistant professor of sociology at the University of California, Berkeley, where he directs the Socio-Spatial Climate Collaborative. He is the co-author of A Planet to Win: Why We Need a Green New Deal
Javier E

Grand Old Planet - NYTimes.com - 1 views

www.nytimes.com/...krugman-grand-old-planet.html

science bias partisan motivated reasoning knowledge evidence

shared by Javier E on 23 Nov 12 - No Cached
  • Mr. Rubio was asked how old the earth is. After declaring “I’m not a scientist, man,” the senator went into desperate evasive action, ending with the declaration that “it’s one of the great mysteries.”
  • Reading Mr. Rubio’s interview is like driving through a deeply eroded canyon; all at once, you can clearly see what lies below the superficial landscape. Like striated rock beds that speak of deep time, his inability to acknowledge scientific evidence speaks of the anti-rational mind-set that has taken over his political party.
  • that question didn’t come out of the blue. As speaker of the Florida House of Representatives, Mr. Rubio provided powerful aid to creationists trying to water down science education. In one interview, he compared the teaching of evolution to Communist indoctrination tactics — although he graciously added that “I’m not equating the evolution people with Fidel Castro.
  • ...5 more annotations...
  • What was Mr. Rubio’s complaint about science teaching? That it might undermine children’s faith in what their parents told them to believe.
  • What accounts for this pattern of denial? Earlier this year, the science writer Chris Mooney published “The Republican Brain,” which was not, as you might think, a partisan screed. It was, instead, a survey of the now-extensive research linking political views to personality types. As Mr. Mooney showed, modern American conservatism is highly correlated with authoritarian inclinations — and authoritarians are strongly inclined to reject any evidence contradicting their prior beliefs
  • it’s not symmetric. Liberals, being human, often give in to wishful thinking — but not in the same systematic, all-encompassing way.
  • We are, after all, living in an era when science plays a crucial economic role. How are we going to search effectively for natural resources if schools trying to teach modern geology must give equal time to claims that the world is only 6.000 years old? How are we going to stay competitive in biotechnology if biology classes avoid any material that might offend creationists?
  • then there’s the matter of using evidence to shape economic policy. You may have read about the recent study from the Congressional Research Service finding no empirical support for the dogma that cutting taxes on the wealthy leads to higher economic growth. How did Republicans respond? By suppressing the report. On economics, as in hard science, modern conservatives don’t want to hear anything challenging their preconceptions — and they don’t want anyone else to hear about it, either.
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