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Carole Hooven On Harvard's Existential Crisis - 0 views

andrewsullivan.substack.com/...hooven-on-harvards-existential harvard crisis university education culture politics woke DEI excellence
shared by Javier E on 06 Jan 24 - No Cached
  • The most salutary aspect of this whole affair is that it has really helped expose the core disagreement in our current culture war. One side believes, as I do, that individual merit exists, and should be the core criterion for admission to a great university, regardless of an individual’s racial or sexual identity, and so on. The other side believes that merit doesn’t exist at all outside the oppressive paradigm of racial and sexual identity, and that membership in a designated “marginalized” group should therefore be the core criterion for advancement in academia.
  • so they discriminate against individuals on the grounds of their race before they consider merit.
  • For example: If you are black and in the fourth lowest decile of SATs and GPAs among Harvard applicants, you have a higher chance of getting into Harvard (12.8 percent admitted) than an Asian-American in the very top decile (12.7 admitted). It’s rigged, which is why it was shut down by SCOTUS.
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  • there is no debate. There’s a trade-off. But once you make identity a core qualification, you’re opening up a whole world of racist anti-racism.
  • Most Americans believe in individual merit, and advancement regardless of identity. Harvard and our new elite believe that our society is so structured as an enduring “white supremacy” that merit can only be considered after you have accounted for the effects of “intersectional oppression.”
  • each moment of truth puts a crack in the stifling, authoritarian edifice of DEI. We can bring this corruption to light. We can hold them to account. I’m certainly more hopeful about the future of liberal society now than I was a month ago.
  • the only way to cover it all up, of course, is to abolish testing students entirely (which is what so many elite colleges and universities are now doing) or to give all students an A or an A-, making any distinctions of excellence irrelevant.
  • When push comes to shove, when there is a finite number of places available, you’re in a zero-sum predicament. You have to pick between a smarter student of the wrong race and a weaker student of the right race. In the end at Harvard, being in the right race — not merit — determines your chances.
  • The more people see this for the systemic racism it is, the sooner we can throw this neo-Marxist cuckoo out of the liberal nest, and return to the airing of all ideas, regardless of the subject matter or the identity of the students
  • That’s how you can claim, as Gay does, that “diversity” and “excellence” go hand in hand, when obviously, at some point they can and do conflict.
  • The response to all this from the CRT crowd has been to insist — ever more strongly — that Gay is simply and only a victim of racism, or, in woke terminology, a victim of misogynoir. The fact that a white female university president at those same hearings lost her job before Gay did — and without any plagiarism questions — doesn’t count.
  • In the Congressional hearings, moreover, she showed little gravitas, grace, or ability to think on her feet. She has largely hidden from public view since the plagiarism revelations — not a good instinct for a leader of a huge, public-facing institution like Harvard. She is, quite obviously, a run-of-the-mill woke academic, who was promoted at breakneck speed because of her race and sex, and found herself quickly out of her depth.
  • When you look instead at what she has done as an administrator, which is where she has been focused more recently, you see it has almost all been about hiring on the basis of sex and race, persecuting heretical members of racial minorities, and removing paintings of dead white dudes. She is, at least, consistent.
  • And let’s be honest: we can all see with our own eyes that subordinating merit to race and sex is how Gay got her position. Her work, beyond the sloppy dime-store plagiarism, would be underwhelming for an average member of any faculty in the country. But for a Harvard president, it’s astonishingly mid
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There has never been more music made - but most artists go hungry - 0 views

www.thetimes.co.uk/...st-artists-go-hungry-nx7c2vg8m music industry costs success
shared by Javier E on 06 Apr 24 - No Cached
  • “Fifteen years ago,” says Will Burgess, of Practise Music, a management company, “if you wanted to record a song you needed two days in a studio, at £400 a day, plus a sound engineer at £100 a day. That’s the cost of a laptop, on which you can make unlimited amounts of music today.”
  • These days you don’t need to be able to play a musical instrument to be a musician and you don’t need a studio. All you need is a computer. “I’ve created songs that have gone to No 1 in my daughter’s bedroom downstairs,” says Crispin Hunt, former lead singer of the Longpigs and now a songwriter who has worked with Lana Del Rey, Rod Stewart and Ellie Goulding.
  • You can sketch out a musical idea on a laptop, you can add instrumentation, you can record your own vocals. If you want to collaborate with others around the world, no problem: when Luke Sital-Singh, a singer-songwriter who works in London, needs drums, he asks a friend with a studio in Lewes to send the files to his computer. He’s working with a guitarist in Santa Fe, to whom he sends a rough version of the song; his collaborator sends him back a guitar track.
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  • Special effects software can give your music all sorts of subtle vibes. For $299, for instance, you can make your song sound as though it was recorded in Sound City Studios in Los Angeles, on the $20,000 vintage microphones with the $100,000 mixing console that recorded Fleetwood Mac and Nirvana. For $259 you can simulate the Beatles’ Abbey Road Studios
  • In the past, when you assembled all the tracks for a song, it would have to be mixed and mastered in a studio by a sound engineer adjusting the levels. Now an app will do it for you.
  • Now, all you need to do is get the files uploaded to streaming services. If you are signed with a label, they will do that for you, but you don’t need a record deal to do that. There are companies such as DistroKid that act as postmen: for £17.99 a year, you can ensure that the song you created in your bedroom is available on multiple streaming platforms.
  • Some artists thrive on social media. It suits lively, quirky performers like Ryder, and artists who want to experiment with different genres. Mxmtoon, a 23-year-old American YouTuber, singer-songwriter and ukulele player, is also a streamer on Twitch, a platform on which people watch others playing online games, has published graphic novels and made a podcast. Maia — the artist’s name — describes mxmtoon as “a multi-hyphenated project”.
  • More traditional musicians struggle with some aspects of tech. “We get together,” says Sital-Singh of his contemporaries in the business, “and have a little moan about how everyone’s telling us to do TikTok and we can’t bring ourselves to dance and we feel old and decrepit.”
  • Even digital natives struggle sometimes: “I already have nostalgia for a simpler past, even though I’m 23,” says Maia. “It’s exciting but it does put so much pressure on a normal individual to be an entrepreneur to advertise their own personal brand.”
  • Journalists, regrettably, no longer have the power they once did. What matters these days is social media. The A&R (artists and repertoire) people at record companies who would once have hung out in basement clubs scouting for new talent now sit in meetings examining the data on artists’ social media performance.
  • Now that the whole world’s music is available all over the world at the click of a play button, there’s a greater diversity among top-selling artists.
  • People making videos of themselves performing or dancing to the song on TikTok helped propel it to the stratosphere. It has been streamed a billion times. Sethi now plays to packed venues in America and Europe; last year, he performed at Coachella, America’s Glastonbury. “Without digital technology I would be a south Asian indy musician, working on the fringes of Bollywood,” he says from his home in New York.
  • For musicians, it’s more ambiguous. Because the costs of making music are lower, anybody with ambition can have a go. Many more people, as a result, are getting into the music business. According to PPL, the organisation which distributes money to music performers and rights-holders, the number of registered artists has risen from 61,310, when the industry was at its nadir, to 165,039 last year.
  • That makes the business fiercely competitive. As Will Page, former chief economist at Spotify and author of Tarzan Economics, points out, around 100,000 tracks are being uploaded on to Spotify every day: that’s more than were released in an entire calendar year in the 1980s
  • That has cemented the power of the record companies. When the digital revolution started, it was widely expected that record labels would cease to exist, and be replaced by a model in which everybody promoted and distributed their own music. That’s not what has happened: because it’s so difficult to get noticed, embryonic stars need record labels to promote them.
  • A label invests in the production of the music, the styling of the band, video content, interviews, touring and the crucial business of getting a song on a streaming service’s playlist that suggests the song to listeners to suit their tastes. Artists that are signed with major labels get paid more, per stream, than those that aren’t.
  • Three quarters of streamed tracks have one of the major record labels behind them. And even though streaming is booming, it doesn’t contribute much to the incomes of the vast majority of artists.
  • Most artists stay hungry. A single stream will earn a musician anywhere between 0.1p and 2.4p. Crispin Hunt reckons that on average a million streams for a song — a wild ambition for most musicians — will, if you have to pay a cut to a record company, probably make you £1,000
  • If you’ve then got to pay your manager 20 per cent, and divide the rest between the four band members, “it barely pays for a Sainsbury’s shop. That’s why music is dominated by middle-class people called Crispin whose parents can afford to buy them an electric guitar and a laptop.”
  • For Christie Gardner, half of Lilo, a two-woman band, it helps planning gigs. “You can see where your listeners are and you can tell what they’re listening to. We make decisions about shows on that basis.” But for most bands, the economics of live performance are pretty grim.
  • Deathcrash’s manager Joe Taylor says that the band has been offered the opportunity of a European tour supporting a much bigger act. It would be good for their career but not their bank balance. The fees per show would be €200; once the costs of a sound engineer, a tour van, a driver, fuel, hotels and a carnet for importing musical instruments into the EU had been factored in, they would lose £15,000.
  • music has always been an uneconomic business, which people subsidise through other activities. The fiddler in the village pub probably worked in the fields in the daytime and played for money and fun in the evenings and at the weekend, rather as Ryder ran a juice bar and sang at weddings. These days, there is also the wafer-thin chance that they might end up being one of the 1,200 artists who make more than $1 million a year on Spotify
  • There are some signs that in the new musical economy, the balance of power between artists and the big record companies may have tipped slightly in the artists’ favour
  • the share of streaming revenues going to artists increased from 19.7 per cent to 23.3 per cent between 2012 and 2021 and that going to songwriters has risen from 8 per cent in 2008 to 15 per cent in 2021. “Outcomes for consumers, artists and songwriters,” it concludes, “are getting better.”
  • Most of the extra revenues generated by streaming are going to the top earners. But the stars are not the only ones benefiting. Between 2017 and 2022, the number of artists earning over $1 million on Spotify more than doubled, but so did the number earning over $10,000
  • more than two fifths of artists who release their own music aren’t expecting to make a full-time career. They’re in it for fun, for the love of it, or to be able to show their mum that they have released a song on Spotify.
  • It seems likely that the more music is being created, the greater the chance that wonderful tunes are being written, but it’s not necessarily the case. The best stuff might get buried under a mound of mediocrity.
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How David Hume Helped Me Solve My Midlife Crisis - The Atlantic - 0 views

www.theatlantic.com/...403195 philosophy buddhism hume culture history
shared by Javier E on 08 Feb 24 - No Cached
  • October 2015 IssueExplore
  • here’s Hume’s really great idea: Ultimately, the metaphysical foundations don’t matter. Experience is enough all by itself
  • What do you lose when you give up God or “reality” or even “I”? The moon is still just as bright; you can still predict that a falling glass will break, and you can still act to catch it; you can still feel compassion for the suffering of others. Science and work and morality remain intact.
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  • What turned the neurotic Presbyterian teenager into the great founder of the European Enlightenment?
  • your life might actually get better. Give up the prospect of life after death, and you will finally really appreciate life before it. Give up metaphysics, and you can concentrate on physics. Give up the idea of your precious, unique, irreplaceable self, and you might actually be more sympathetic to other people.
  • Go back to your backgammon game after your skeptical crisis, Hume wrote, and it will be exactly the same game.
  • Desideri retreated to an even more remote monastery. He worked on his Christian tracts and mastered the basic texts of Buddhism. He also translated the work of the great Buddhist philosopher Tsongkhapa into Italian.
  • That sure sounded like Buddhist philosophy to me—except, of course, that Hume couldn’t have known anything about Buddhist philosophy.
  • He spent the next five years in the Buddhist monasteries tucked away in the mountains around Lhasa. The monasteries were among the largest academic institutions in the world at the time. Desideri embarked on their 12-year-long curriculum in theology and philosophy. He composed a series of Christian tracts in Tibetan verse, which he presented to the king. They were beautifully written on the scrolls used by the great Tibetan libraries, with elegant lettering and carved wooden cases.
  • Desideri describes Tibetan Buddhism in great and accurate detail, especially in one volume titled “Of the False and Peculiar Religion Observed in Tibet.” He explains emptiness, karma, reincarnation, and meditation, and he talks about the Buddhist denial of the self.
  • The drive to convert and conquer the “false and peculiar” in the name of some metaphysical absolute was certainly there, in the West and in the East. It still is
  • For a long time, the conventional wisdom was that the Jesuits were retrograde enforcers of orthodoxy. But Feingold taught me that in the 17th century, the Jesuits were actually on the cutting edge of intellectual and scientific life. They were devoted to Catholic theology, of course, and the Catholic authorities strictly controlled which ideas were permitted and which were forbidden. But the Jesuit fathers at the Royal College knew a great deal about mathematics and science and contemporary philosophy—even heretical philosophy.
  • La Flèche was also startlingly global. In the 1700s, alumni and teachers from the Royal College could be found in Paraguay, Martinique, the Dominican Republic, and Canada, and they were ubiquitous in India and China. In fact, the sleepy little town in France was one of the very few places in Europe where there were scholars who knew about both contemporary philosophy and Asian religion.
  • Twelve Jesuit fathers had been at La Flèche when Desideri visited and were still there when Hume arrived. So Hume had lots of opportunities to learn about Desideri.One name stood out: P. Charles François Dolu, a missionary in the Indies. This had to be the Père Tolu I had been looking for; the “Tolu” in Petech’s book was a transcription error. Dolu not only had been particularly interested in Desideri; he was also there for all of Hume’s stay. And he had spent time in the East. Could he be the missing link?
  • in the 1730s not one but two Europeans had experienced Buddhism firsthand, and both of them had been at the Royal College. Desideri was the first, and the second was Dolu. He had been part of another fascinating voyage to the East: the French embassy to Buddhist Siam.
  • Dolu was an evangelical Catholic, and Hume was a skeptical Protestant, but they had a lot in common—endless curiosity, a love of science and conversation, and, most of all, a sense of humor. Dolu was intelligent, knowledgeable, gregarious, and witty, and certainly “of some parts and learning.” He was just the sort of man Hume would have liked.
  • Of course, it’s impossible to know for sure what Hume learned at the Royal College, or whether any of it influenced the Treatise. Philosophers like Descartes, Malebranche, and Bayle had already put Hume on the skeptical path. But simply hearing about the Buddhist argument against the self could have nudged him further in that direction. Buddhist ideas might have percolated in his mind and influenced his thoughts, even if he didn’t track their source
  • my quirky personal project reflected a much broader trend. Historians have begun to think about the Enlightenment in a newly global way. Those creaky wooden ships carried ideas across the boundaries of continents, languages, and religions just as the Internet does now (although they were a lot slower and perhaps even more perilous). As part of this new global intellectual history, new bibliographies and biographies and translations of Desideri have started to appear, and new links between Eastern and Western philosophy keep emerging.
  • It’s easy to think of the Enlightenment as the exclusive invention of a few iconoclastic European philosophers. But in a broader sense, the spirit of the Enlightenment, the spirit that both Hume and the Buddha articulated, pervades the story I’ve been telling.
  • as I read Buddhist philosophy, I began to notice something that others had noticed before me. Some of the ideas in Buddhist philosophy sounded a lot like what I had read in Hume’s Treatise. But this was crazy. Surely in the 1730s, few people in Europe knew about Buddhist philosophy
  • But the characters in this story were even more strongly driven by the simple desire to know, and the simple thirst for experience. They wanted to know what had happened before and what would happen next, what was on the other shore of the ocean, the other side of the mountain, the other face of the religious or philosophical—or even sexual—divide.
  • Like Dolu and Desideri, the gender-bending abbé and the Siamese astronomer-king, and, most of all, like Hume himself, I had found my salvation in the sheer endless curiosity of the human mind—and the sheer endless variety of human experience.
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